" ©OJ] Wlt OJ] [J@

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Tho of the Editors:
IntoHHltionnl for tho DtlfV<JS and OelnllS Nagy
Stud,' of Sytnrnotry
Volume 3.f\lurnber 2. 1992

INTERNATIONAL SOCIETY FOR THE
INTERDISCIPLINARY STUDY OF SYMMETRY
(ISIS-SYMMETRY)
President
Denes Nagy, Department of Mathematics and
Computing Science, University of the South Pacific,
P.O. Box 1168, Suva, Fiji (on leave from Eotviis
Lonlnd University, Budapest, Hungary) [Geometry
and Crystallography, History of Science and
Technology, Linguistics]
Honorary Presidents
Konstantin V. Frolov (Moscow)
and
Yuval Ne'eman (Tel-Aviv)
Vice-Presidents
Arthur L. Loeb, Carpenter Center for the Visual
Arts, Harvard University, Cambridge, MA 02138,
U.S.A. [Crystallography, Chemical Physics, Visual
Arts, Choreography, Music]
and
Sergei V. Petukhov, Institut mashinovedeniya RAN
(Mechanical Engineering Research Institute, Russian
Academy of Sciences 101830 Moskva, ul. Griboedova 4,
Commonwealth of Independent States
(also Head of the C.I.S. Branch Office of the Society)
[Biomechanics, Bionics, Information Mechanics]
Executive Secretary
Gyorgy Darvas, Symmetrion - The Institute
for Advanced Symmetry Studies
Budapest, P.O. Box 4, H-1361 Hungary
[Theoretical Physics, Philosophy of Science1
Associate Editor:
MiMly Szoboszlai, Epiteszmernoki Kar, Budapesti
MiIszaki Egyetem (Faculty of Architecture,
Technical University of Budapest),
Budapest, P.O. Box 91, H-1521 Hungary
[Architecture, Geometry, Computer Aided
Architectural Design]
Regional Chairpersons/Representatives:
AFRICA
MoZl111lbique: Paulus Gerdes, Instituto
Superior Pedag6gico, Caixa Postal 3276, Maputo,
Mozambique [Geometry, Ethnomathematics,
History of Science]
AMERICAS
Brazil: Ubiratan D'Ambrosio, Instituto de
Matematica, Estatistica e Ciencia da
(IMECC), Universidade Estadual de Campinas
(UNlCAMP), Caixa Postal 6065, BR-13081
Campinas - SP, Brazil [Ethnomathematics]
Canada: Roger V. Jean, Departement de
mathematiques el informatique, Universitl! du
Quebec a Rimouski, 300 allee des Ursulines,
Rimouski, Quebec, Canada G5L 3AI
[Biomathematics]
US.A.: William S. Huff, Department of
Architecture, State University of New York at
Buffalo, Buffalo, NY 14214, U.S.A.
[Architecture, Design]
Nicholas Toth, Department of Anthropology,
Indiana University, Rawles Hall 108, Bloomington,
IN 47405, U.S.A. [Prehistoric Archaeology,
Anthropology]
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ASL4
China, P.R.: Da-Fu Ding, Shanghai Institute of
Biochemistry, Academia Sinica,
320 Yue;Yang Road, Shanghai 200031,
P.R. China [Theoretical Biology]
Le-Xiao Yu, Department of Fine Arts, Nanjing
Normal University, Nanjing 210024, P.R. China
[Fine Art, Folk Art, Calligraphy]
India: Kirti Trivedi, Industrial Design Centre, Indian
Institute of Technology, Powai, Bombay 400076,
India [Design, Indian Art]
Israel: Hanan Bruen, School of Education,
University of Haifa, Mount Carmel, Haifa 31999,
Israel [Education]
Joe Rosen, School of Physics and Astronomy, Tel-
Aviv University, Ramat-Aviv, Tel-Aviv 69978, Israel
[Theoretical Physics]
Japan: Yasushi Kajikawa, Synergetics Institute,
5-4 Nakajima-cho, Naka-ku, Hiroshima 730, Japan
[Design, Geometry]
Koichiro Matsuno, Department of BioEngineering,
Nagaoka University of Technology, Nagaoka 940-21, Japan
[Theoretical Physics, Biophysics]
AUSTRALJA AND OCEANL4
Australia: Donald Herbison-Evans, Basser
Department of Computer Science, University of
Sydney, Madsen Building F09, Sydney, N.S.w. 2006,
Australia [Computing, Dance]
Fiji: Jan 'Thnt, Department of Literature and Language,
University of the South Pacific
P.O. Box 1168, Suva, Fiji [Linguistics]
New Zealand: Michael C. Corballis, Department of
Psychology, University of Auckland, Private Bag,
Auckland I, New Zealand [Psychology]
Tonga: 'llaisa Futa-i-Ha'angana Helu, Director,
'Atenisi (Athens) Institute and University,
P.O. Box 90, Nuku'alofa, Kingdom of Thnga
[Philosophy, Polynesian Culture]
EUROPE
Austria: Franz M. Wuketits, Konrad Lorenz-Institut
flir Evolutions- und Kognitionsforschung, Adolf Lorenz-Gasse,
A-3422 Altenberg, Austria [Theoretical Biology]
Benelux: Pieter Huybers, Faculteit der Civiele
Techniek, Technische Universiteit Delft (Civil
Engineering Faculty, Delft University of
Technology), Stevinweg I, NL-2628 CN Delft,
The Netherlands [Geometry of Structures, Building
Technology]
Bulgaria: Ruslan I. Kostov, Geologicheski institut
BAN (Geological Institute, Bulgarian Academy of
Sciences), ul. Akad. G. Bonchev 24, BG-l113 Sofia,
Bulgaria [Geology, Mineralogy]
Czechoslovakia: \bjtech Kopsky, Fyzikalni ustav
CSAV (Institute of Physics, Czechoslovak
Academy of Sciences), CS-180 40 Praba 8 (Prague),
Na Slovance 2 (FOB 24), Czechoslovakia
[Solid State Physics]
France: Pierre Szekely, 3bis, impasse Villiers de
I'IsIe Adam, F-75020 Paris, France [Sculpture]
continued inside back CO\
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5 lJ
CULTURE & SCIENCE
lJ
The Quarterly of the International Society for the
Interdisciplinary Study of Symmetry
(ISIS-Symmetry)
Editors:
Gy5rgy Darvas and D6nes Nagy

Volume 3, Nwnber 2, 1992, 113-224

CONTENTS

SYMPOSIUM: SYMMETRY OF PATTERNS, PART 2 115

• Growing icosahedra, Yasushi Kajikflwa 117

• A report on progress toward an ISIS-Symmetry intertaxonomy,
H. T. Goranson 137

EXTENDEDABSTRACTS, PART2
of the Second Interdisciplinary Symmetry Symposium and Exhibition
SYMMETRY OF PATTERNS
August 17-23,1992, Hiroshima, Japan 146
• Contents 147

SYMMETRIC GALLERY 179

SYMMETRY: CULTURE & SCIENCE

• Symmetry and irreversibility in the musicallanguage(s) ofthe
twentieth century, Siglind Bruhn 187

SYMMETRY: SCIENCE & CULTURE

• Reduction as symmetry, Joe Rosen 201

SFS: SYMMETRIC FORUM OF THE SOCIETY 211

RECREATIONAL SYMMETRY
• Flexing Polyhedra: Nets by Caspar Schwabe 213
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SYMMETRY: CULTURE AND SCIENCE is edited by the Board of the International Society
for the Interdisciplinary Study of Symmetry (ISIS-Symmetry) and published quar-
terly by the International Symmetry Foundation. The views expressed are those of
individual authors, and not necessarily shared by the Society or the Editors.

Any correspondence should be addressed to the Editors:

Darvas
Symmetrion - The Institute for Advanced Symmetry Studies
P.O. Box 4, Budapest, H-1361 Hungary
Phone: 36-1-131-8326 Fax: 36-1-131-3161
E-mail: h492dar@ella.hu

Nagy
Department of Mathematics and Computing Science
University of the South Pacific
P.O. Box 1168, Suva, Fiji (Oceania)
Phone: 679-212-364 Fax: 679-301-305
E-mail: d.nagy@usp.ac.nz
The section SFS: Symmetric Forum ofthe Society has an E-Joumal Supplement.
Annual membership fee of the Society: Benefactors, US$780.00;
Ordinary Members, US$78.00 (including the subscription to the quarterly),
US$30.00 (without subscription);
Student Members, US$63.00 or US$15.00, respectively;
Institutional Members, please contact the Executive Secretary.
Annual subscription rate for non-members: US$%.OO.
Make checks payable to ISIS-Symmetry and mail to Darvas, Executive
Secretary or transfer to the following account number: ISIS-Symmetry, Interna-
tional Symmetry Foundation, 401-0004-827-99 (US$) or 407-0004-827-99 (OM),
Hungarian Foreign Trade Bank, Budapest, Szt. Istvan 11, H-1821 Hungary
(Telex: Hungary 22-6941 extr h; Swift code: MKKB HU HB).

@IsIs-symmetry. No part of this publication may be reproduced without written

permission from the Society.
ISSN 0865-4824

Cover layout: Gunter Schmitz

Images on the front and back cover: Yasushi Kajikawa
Hypermatrix, Growing icosahedron, 1989
Ambigram on the back cover: Douglas R. Hofstadter
Logo on the title page: Kirti Trivedi and Manisha Lele
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Symmetry: Culture and Science
VoL 3, No. 2, 1992, 115-186

SYMMETRY OF PATTERNS

Second Interdisciplinary Symmetry Symposium and Exhibition

August 17-23, 1992, Hiroshima, Japan

PART 2
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Yasushi Kajikawa with his 'grown' icosahedron model.

Photo: Caspar Sc:bwabe

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Symmetry: Culture and Science
VoL 3, No. 2, 1992, 117-136

Yasushi Kajikawa
Synergetics Institute, 4 Nakajima-cho, Naka-ku, Hiroshima, Japan 730

3D mechanics: Yukio Tachikawa

Graphic design: Richard C. Parker
Model engineering: Michikiko Kajikawa
Original design: Yasushi Kajikawa

It was discovered that by dividing an icosahedron into ten· types of small modules, we
can construct various 5-fold symmetrical polyhedra by recombining the modules again
radially and symmetrically. This discovery suggests possible new paths of interaction
between polyhedra, which are the subject ofintense debate with respect to quasicrystals.

In crystallography, periodicity defmes a structure that has both rotational and

translational symmetry. Because of this restriction, 5-fold symmetry was ruled out in
possible solutions to the question of the structure of crystals. However, 5-fold
quasicrystals exist and have now been discovered. To cope with these inconsistencies,
researchers are going to have to expand the framework oftraditional crystallography.

In fact, all quasicrystals discovered so far have 5-fold symmetry. The Penrose lattice is
a powerful means of coping with such structures, because it avoids too rigorous
rotational and translational symmetry, and it provides us with an elegant order.

In geometry, there exist polyhedra with rigorous 5-fold symmetry. For example, if we
project a dodecahedron or an icosahedron on a screen, we can see regular pentagons.

I first divided an icosahedron into ten types of small modules, then reconstructed
various polyhedra by combining the modules radially and symmetrically. I found a
beautiful hierarchical structure in the polyhedra, where in each layer in the
reconstruction process there appear various 5-fold symmetrical polyhedra including the
dodecahedron, icosahedron, and rhombic triacontahedron. Furthermore, it is possible
to fill the entire space in these models while maintaining a hierarchical structure in the
filling pattern.

Although this discovery was done outside the territory of translational symmetry in
crystallography, it is quite suggestive ofa solution to the structure of5-fold symmetrical
crystals that grow radially and symmetrically in the natural world.
Crystallography first began as a branch of geometry. From the 18th century until
the early 20th century, crystallography researchers were developing an area of pure
geometry of the structures of crystal lattices and the generalization of their patterns
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by investigating the symmetries which were revealed by measurements of the angles

between adjacent faces of mineral CIyStals. They established the crystal lattice
theory before the famous X-ray crystal structure analysis was invented by M. von
Laue in 1912, which is deemed the monumental start of modern crystallography.
Crystal structure analysis is a method by which we can decide the atomic
arrangement in a crystal by making a diffraction image of a crystal with an electron
beam or X-ray. Note that the diffraction image does not show the edges and faces
of a unit cell in the CIyStal directly. Instead, it only shows a transformed image
which represents the relation between atoms in the CIyStal. Thus, in the image, the
positions of the atoms are coded in an array of 2-dimensional dots.
Hence, information about distance between atoms (or bond length), their bond
angles, and the space group is needed in advance in order to determine the shape
and scale of the unit lattice from the diffraction image. In other words, the atomic
arrangement cannot be determined without a minimal geometrical structure and
the pattern of a 3-dimensional model.
Laue succeeded in adjusting the scale of independent geometrical concepts and the
principles found in nature to allow them to coincide with each other and proved
the correctness of the geometrical modeling method.
Now, we can visualize the atomic arrangement in a 3-dimensional form by using a
geometrical approach with the three basic visual concepts of geometry (vertex,
edge, and face) which allows us to reveal the relationship between dots in the
diffraction image.
Technological advances in crystal structural analysis since Laue's invention have
brought in a number of discoveries of quasicrystals with S-fold symmetry which are
CIyStals whose existence has never before been conjectured. The first quasicrystal
AI-Li-Cu alloy was discovered by Hardy and SHcock in 19S5, 30 years before the
name 'quasiCIyStal' was first used for a newly discovered Schechtmanite AI-Mn
alloy.
In 1986, a French researcher B. Dubost composed a very large quasicrystal of 1
millimeter in diameter, which contained 1()20 atoms! It is an AI6Li3Cul alloy whose
shape is a complete rhombic triacontahedron. In 1988, A P. Tsai and others of the
Metal Material Laboratories of Tohoku University succeeded in composing a
quasicrystal AI6SCu20FelS of 2 millimeters in diameter whose shape is a complete
dodecahedron.

GEOMETRICAL MODELING OF QUASICRYSTALS

A 3-dimensional geometrical model which can cope with S-fold symmetry is
necessary in order to investigate the structures of these new quasicrystals. There
have been a number of proposed models in recent CIyStallography. Proposed
models are, of course, decisively different from traditional ones. However, most of
them are based on the traditional closest packing of spheres of the same diameter,
and the all-space filling by two types of parallelepipeds called and 06'
respectively.
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Of Icosahedron

1, Icosahedron
(The Inilial Nucleus)

Truncated Rhombic
Triaklsicosahedron

lcosidodecahedron +
Rhombic Triakis
Icosahedrol"\

Dodecahedron with edge length 1.618

The internal structure

of the 3' Iccsahedron

Edge·truncated
1runcaled tcosahedron

3, Icosahedron

Truncated Icosahedron

FIpre 1: Hlerarcbkal structure model

The model fills the space hierarchically starting from an icosahedron. The shape of each shell maintains
the icosahedral S-3-2 symmetry through the growing process. Some Platonic regular polyhedra and
Archimedean semi-regular polyhedra which have S-fold symmetry can be seen here. These polyhedra will
fill space indefiniteIy, repeating a self-similar hierarchy every time their edge lengths become three times
greater than before.
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Figure 2: Synergetic modules

The model I discovered in which the space will be filled hierarchically on the basis of icosahedron
consists of ten types of modules called the synergetic modules. These modules are obtained by dividing
the icosahedron into two pentagonal bipyramids and one scooped out pentaprism and continuing to
divide them at vertices, midpoints of edges, midpoints of diagonals and so on. The resulting ten types of
modules are thought of as ultimate units in this division.
All of five tetrahedron modulesA, C, G, E, J and five octahedron modules B, D, H, E, I are composed of
only triangular faces. The volume of an octahedral module is four times as large as that of the
corresponding tetrahedral module. (For example, the volume of E is four times as large as that of E.) The
tetrahedron I is known to be able to constitute the whole icosahedron by itself. Let the volume of J be 1.
Then, the volumes of the other tetrahedra G, A, and C are lIT, 2lr, and 2/T2, respectively, where T means
the golden ratio.
The synergetic modules can be classified into the outside modulesA, B, C, D, J, I whose face can be seen
from outside, and the inside modules E, E, G, H which are hidden inside the icosahedron. Though
icosahedra cannot fill the space without gaps, these ten types of modules can fill 5-3-2 symmetric space.

The closest packing of spheres of the same diameter has served as the traditional
geometrical structural model to represent crystal structures. However, it cannot
create polyhedra which have S-fold symmetry, such as an icosahedron, a rhombic
triacontahedron, or a dodecahedron composed of the same sized regular
pentagons.
To construct an icosahedron by the closest packing of spheres, we have to reduce
the size of the central sphere, around which 12 spheres of the same diameter can be
arranged and if we want to enlarge the icosahedron by adding further spheres
around it, it will soon turn out to be impossible because the bond angles and
distances between spheres cannot be maintained exactly. Gaps in the outer shell
will stop the growth.
This means that the closest packing sphere model cannot cope with even the
simplest icosahedron and is thought to be inappropriate for the 3-dimensional
geometrical model of quasicrystals which have S-fold symmetry.
S. Baer is the first researcher who in 1970 discovered that Pv, and 06 can yield 5-
fold symmetry. He constructed a rhombic triacontahedron using ten
parallelepipeds each of which is classified into either Pv, or 06' The lengths of the
diagonals of each parallelepiped equal the golden ratio. Then, for the first time, he
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GROWING ICOSAHEDRA 121

developed a 3-dimensional space filling model, in which the internal construction

of the units is non-periodic and the shape has S-fold symmetry. He also succeeded
in combining rhombic triacontahedra by overlapping adjacent ones without losing
the S-fold symmetry. He tried another all-space filling model using parallelepipeds
whose diagonal ratios are different from those of Av and 06' and found that 120
parallelepipeds of five types can fill a S-fold symmetrIc rhombic enneacontahedron
non-periodically.
In 1981, A L Mackay discovered 3-dimensional Penrose tiling and it became
known that the parallelepipeds 1'"(, and are the units which can also fill a
rhombic icosahedron and a rhombic dodecahedron along with the rhombic
triacontahedron. However, it was impossible to fill polyhedra with S-fold symmetry
like an icosahedron or a dodecahedron.
Since the discovery of quasicrystals, it seems that only these approaches have been
tried in order to prove the possibility of S-fold symmetry in the 3-dimensional
geometrical model. Former space filling models in 3-dimensional geometry aimed
at filling the entire space.
However, I thought that the fundamental problem of these space filling models
with respect to quasicrystals was how to construct a pure geometrical space filling
model in which an asymmetrical or non-periodic internal structure could comprise
a symmetrical outer shape. I believed that pursuing the units by which S-fold
symmetric polyhedra can be composed would lead to a new geometry of symmetry.
This was the motivation that started me to investigate a generalized geometrical
all-space filling model which shows the way to fill any closed S-fold symmetrical
polyhedron without gap or inconsistency.

HIERARCHICAL MODEL OF ICOSAHEDRON AND SHELL

FILLING
In October 1989, I found that an icosahedron can be divided into a number of
triangularized modules of ten types and that they can comprise more than one shell
of different geometrical structures which grow concentrically and hierarchically to
make up an icosahedron with S-fold symmetry. As a result of my particular
asymmetrical modular divisions, the outermost shell of the icosahedron shows a
regular triangularized pattern in which the length of each edge is an integer
multiple of the original edge length. This means that an icosahedron can grow by
this multiplication.
My ten new types of modules are called synergetic modules. These modules can all-
space fill higher frequency icosahedrons each of whose faces is a lattice of regular
triangles. We can make an icosahedron grow by dividing its edges into a number of
equally long parts and connecting these divisions in a triangular manner. The
number of these divisions is called the frequency ( f ) of the icosahedron.
My icosahedron grows symmetrically in the radial direction. Synergetic modules
have both growth ability and interchangeability in this hierarchy. All-space filling
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models with such characteristics have never been reported in the past history of
geometry, physics or crystallography.
In the growth hierarchy from a If (one frequency) icosahedron with edge length 1.0
to a 3f (three frequency) icosahedron, there appear recognizable symmetrical
polyhedra, including the truncated icosahedron with edge length 1.0, the
icosidodecahedron with edge length 1.0 and the dodecahedron with edge length
1.618 . All polyhedra in this hierarchy have perfect 5-3-2 symmetry.
Note that the 5-3-2 symmetry is seen in the exterior shape of these polyhedra, not
in the internal arrangement of modules nor in the triangularized pattern on their
face. In fact, there is more than one combination or arrangement of the modules
for each shell.
On the outside layer of the 3f icosahedron, the self-similar patterns of all the shell
structures appearing in the hierarchy between the If and 3f icosahedron are
replicated by a multiple of 3, because the number of divisions, or frequency, has to
be a multiple of 3 in order to make each of the 20 vertices of the dodecahedron
contact the center of the triangle lattice on the corresponding face of the outer
icosahedron.
The 3f icosahedron can be considered as a minimum shell structure in the
hierarchy in the sense that all the ten types of modules are used in it for the first
time. In the 6f (six frequency) icosahedron, all the shell structures will appear again
with their edge lengths doubled. However, in the 4f (four frequency) and Sf (five
frequency) icosahedra, some of the layers are lost. That is, not all frequencies make
icosahedra with complete hierarchical structures.
Super-high-frequency icosahedra are filled by iterating the hierarchy of the shell
structure hierarchies. Thus, we can consider the concentrically expanding hierarchy
of the polyhedra with 5-fold symmetry, a hierarchy which recurs periodically.

Figure 3: Tbe 3/ Icosabedron and 3/ dodecahedron

This figure illustrates the contrast between 31 (three frequency) icosahedra whose faces are composed of
only outside modules and 31 (three frequency) dodecahedra whose faces are composed of only inside
modules.
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dodecahedron with edge length 1.618

(the second nucleus)

2 Rhombic Triacontahedron
Modules
E 24

t
Modules
F36 E 12
G48 G 24
H12

/1
M,)duleB
E 48
r12
Rhombic Hecatoicosahedron
G36
H 24

Truncaled Rhombic Hecatoicosahedron Truncated Rhombic

Modules Triacontahedron
HI460
t Modules
G 48

Modules
E 36
F 12
G 12
H24

Edge-lruncated Rhombic Ttiacontahedron

2f Dodecahedron

Figure 4: Rhombic tnllconlahedroD

If we change the combination of modules from the first dodecahedron, we can obtain a rhombic
triacontahedron which also has 5-3-2 symmetry. After that, the periodicity of the hierarchy will be 2.
B;;:yond the first dodecahedron, only inside modules are used to make further shells. The face of the
rhombic triacontahedron becomes a lattice of isosceles triangles. According to the model, two systems of
the forms are possible. Quasicrystal alloys of millimeter size whose shapes are a rhombic triacontahe-
dron and a dodecahedron have already been created. This choice from two may be explained by the
hierarchical model for the super-high frequency rhombic triacontahedron. If this is the case, there may
be an icosahedral quasicrystal alloy of three metal elements. The number immediately following a mod-
ule name indicates the number of modules to be used in the growth step. Note that it is a mUltiple of 12.
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So far, icosahedra with S-fold symmetry have been thought impossible to all-space
fill without inconsistencies or gaps. However, it has now been proved that growing
icosahedra can be all-space filled by using the synergetic modules.

Figure 5: Icosahedral duster structure with perfect s-roJd symmetry

The 1/ icosahedron can be composed of only tetrahedral modules I. (Here, we use the same notation 1/,
2/, ...) The 2/ and 3/ icosahedra cannot be composed of I modules only. We have to use the
corresponding octahedral module J. These icosahedra are fonned by radially and symmetrically
combining 20 tetrahedral subunits composed of modules I and J. There are no shell structures other than
the icosahedron.

SYNERGETIC MODULES
The north pole and south pole among the 12 vertices of the icosahedron always
function additionally to the system. In the formation process of the synergetic
modules, the abstractness of the additive twoness is indeed replayed visually. These
two poles are clearly distinguished from other vertices.
To obtain the synergetic modules, we have to divide an icosahedron into three basic
parts first: the arctic part, the equator part, and the antarctic part, all of which are
symmetrical with respect to an axis penetrating through the north and south poles.
The arctic and antarctic parts are two identical pentagonal bi-pyramids and the
equator part is a ring shape which is a pentaprism with both top and bottom
scooped out. The volumes of the pentagonal bi-pyramid poles and the scooped out
pentaprism are 5 and 10, respectively, if the volume of the icosahedron is assumed
to be 20.

Next, we divide each pentagonal bi-pyramid into two (outer and inner) pentagonal
pyramids by a plane perpendicular to its axis. This split is fundamentally related to
the golden ratio. Further, we divide each pentagonal pyramid into three tetrahedra.
We also divide the scooped out pentaprism into ten identical tetrahedra. Now, we
have five types of tetrahedra, two from the outer pentagonal pyramids, two from
the inner pentagonal pyramids and one from the equator scooped out pentaprism.
Ifwe continue dividing each tetrahedron into four small similar tetrahedra and one
small octahedron by splitting it at lines connecting its edge midpoints, we obtain
five types of small tetrahedra and five types of small octahedra. Of course, the
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volume of each octahedron is four times as large as that of the corresponding

tetrahedron.
All of the synergetic modules have triangular faces. However, there are only five
types of triangular faces. Four of them are triangles with two equal sides, i.e,
isosceles triangles with edge lengths 1.0 (the edge length of the original
icosahedron), 0.95 (the distance between the center of the icosahedron and one of
its vertices), or 1.618 (the length of a diagonal of the pentagonal face of the
icosahedron). The other triangular face type is an equilateral triangle.

COMPLEMENTARINESS OF THE SYNERGETIC MODULES

The ten types of modules are classified into six outside modules and four inside
modules, depending on where they are located in the original icosahedron.
Modules can be joined to each other if they have the same mirror image face.
However, the outermost face of a growing icosahedron can consist of only
equilateral triangles with edge length 1.0, which is common to all outside modules.
The four types of inside modules can be arranged to form another shell inside the
growing icosahedrons outer shell. Outside modules can in turn be arranged to form
another inner shell to link with more inner shells. If faces of inside modules form
some intermediate polyhedron, this polyhedron will not be an icosahedron. In
other words, the formation of shells is intrinsically related to the
complementariness of the outside and inside of the icosahedron.
Tetrahedral modules and octahedral modules are joined to each other in keeping
with this complementary relationship. The first If icosahedron is composed by
joining only tetrahedral modules with each other. However, in all other shell
structures, each tetrahedral face must be joined to the face of an octahedron that
can be joined to another tetrahedron on another face. That is, neither tetrahedral
modules nor octahedral modules alone can fill these shells.

NUCLEUS FOR GROWTH

Historically, since they are dual to each other, we have not been able to determine
which polyhedron is more fundamental, the icosahedron or the dodecahedron.
However, in our growth system for the icosahedron, they differ in the hierarchy. We
can distinguish them clearly by examining whether the pattern of the shell surface
consists of only outside modules or only inside modules.
This leads to the important conclusion that the icosahedron belongs to a more
fundamental hierarchy than the dodecahedron. The If icosahedron is a 5-fold
symmetrical polyhedron which can be composed of the minimum number of
modules. However, the very center of the If icosahedron, or its nucleus can be
thought of as a Of (zero frequency) icosahedron. In this sense, a single point is an
initial polyhedron which has a hierarchy for the icosahedron already in it.
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In our hierarchy, there are axes which radiate from the center toward the 12
vertices of the icosahedron, axes which radiate from the center toward the centers
of the 20 faces of the icosahedron, and axes which radiate from the center toward
the 30 edge midpoints of the icosahedron. Thus, there are 31 axes of 5-3-2 rotation
symmetry in total. In the hierarchy of growth, any point (including the kernel)
where the vertices of modules meet contains the 31 rotation axes. The bond angle
of the edges of modules at each point is a central angle made by some combination
of these 31 axes. At the maximum in our hierarchy, 18 directions are selected
among the 62 radial directions.
Both the local non-periodicity and the synergetic hierarchy emerge from the
angular divisions made by these axes at the nucleus. The asymmetrical
combinations of modules are caused primarily by the symmetry of the kernel where
three types of rotational axes can co-exist.
The concentric polyhedral shell structures grow symmetrically with respect to the
5-3-2 rotational axes from the nucleus. The growth of the arrangement by the
synergetic modules is governed by the rule that the bond angles must match each
other at any point no matter how non-periodic and asymmetrical these angles are.
A point must contain the system in order to make sure the combination of
synergetic modules will grow radially. This leads to the idea that the point represents
a complex of realistic substances with some properties, rather than the idea in
traditional Euclidean geometry that a point has no parts in it.

Figure 6: Tlllng
In the concentric polyhedral hierarchy, the synergetic modules make possible such generalizations as 5-
fold symmetry, periodicity of the hierarchy and radial growth. However, if we limit them to construct
only a plane (not a mathematically rigorous plane since it has some thickness), we obtain non-periodic
arrangements. This figure illustrates an arrangement composed of four kinds of inside modules E, E, G
and H, which have a global orientation order and a global translation order. The patterns of the face
(left) and back (right) are never identical. Any Penf06e tiling pattern can be realized in this model. If we
pile up symmetric layer on layer, and so on, we obtain a periodic structure with respect to the vertical
axis. On the other hand, if we use the different modules A, B, C, and D, we obtain a layer with the same
pattern but with a volume 2/T times as large as before.
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RADIAL GROWTH ON ROTATION AXIS

In the growing icosahedron, there are parallel layers expanding successively which
are perpendicular to any axis. The cross section perpendicular to the axis is
always a regular pentagon. It is composed of outside modules and inside modules
joined to each other. There are two kinds of thicknesses of the pentagonal layers
which can be expressed in terms of the golden ratio T if we assume the distance
between the center of a If icosahedron and its surface equilateral triangles to be 1.
Since the boundary between layers is also a boundary between shells, we can
remove the layer from the hierarchy.
Parallel surfaces of regular pentagonal layers have intrinsically non-periodic
patterns. These patterns are the result of the 3-dimensional combination of
modules. Adjoining patterns are mirror images of each other. The combination of
modules has 3-2 rotation symmetry. Furthermore, a pattern has either right-
handedness or left-handedness. Each shell shows right-handedness or left-
handedness alternately on its surface pattern, which is integrated into the inside
surface of the next shell.
Perpendicular to the 3-fold axes, equilateral triangles expand out successively.
These triangular layers cannot be removed since modules which compose the layers
between two equilateral triangles are overlapping modules which compose the
pentagonal layers perpendicular to the S-fold axes. The thickness of a triangular
layer is an integer multiple of the distance between the center of the If
icosahedron and its face equilateral triangles. The patterns on these layer surfaces
are periodic.
With respect to 2-fold axes, there is no module which has a surface perpendicular
to these axes.
The ten types of synergetic modules can be classified into three classes by their
height. Three kinds of layers appearing on the S-fold and the 3-fold axes are truss
structures of three thicknesses, each of which is composed of tetrahedral and
octahedral modules of the same height. This is an economic and dynamically stable
combination of modules.

SYNERGETICS TILING
I found a generalization which abstracts the method of module arrangement in the
layers on the S-fold axis in October 1989, and named it Synergetics Tiling. We can
make tilings of two different thicknesses, which expand horizontally the layer of
either the inside modules or the outside modules on the S-fold axes. These tilings
are non-periodic and do not have S-fold symmetry.
The patterns appearing on both sides of these tilings can reprodUce all of the non-
periodic Penrose tilings. The patterns on both sides are never identical to each
other. Moreover, one can arrange modules so that the pattern on the face is not
periodic, while the pattern on the back has perfect 10-fold symmetry.
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Ifwe pile up the layers of the Synergetics Tiling so as to make the adjoining patterns
match each other, we have a periodic structure in the vertical direction which can
.fill the entire space. The reason why these modules can spread to infinity is the
degree of freedom that exists when there is such a high level of possible
combinations, 20 directions at maximum out of 62 radial total directions.

QUANTIZATION BY MODULES
Let the volume of the module I and E be 1. I found that the formula which tells the
volume V of a growing icosahedron with frequency f is represented as:
V = 2 x (2 x 5) .p
Although modules other than I and E have irrational volumes, they add up to an
integer value when they compose an icosahedron, eventually canceling the
irrationality of each other. Moreover, the volume of any shell structure is also an
integer. Hence, the volumes of the shell structures are quantized by the synergetic
modules and increase proportionally to the cube of the frequency.
Next, let f be the number of divisions or frequency of an edge, X be 1 for a regular
tetrahedron, 2 for a regular octahedron, 5 for a cuboctahedron or an icosahedron.
In 1960, R. Buckminster Fuller found that when a regular polyhedron is filled
closely by spheres, the number of spheres on the faces, say N, can be represented as:
N=2 xp +2
He also found a similar formula for the number of points on the faces of an
icosahedron which is divided into equilateral triangles.
Fuller's general formula also holds true for our hierarchical structural model of the
icosahedron as follows:
N= 2 X 5f2 +2
where N means the number of points on the outer shell faces (points where edges
of modules meet). That is, the number of points on the outer shell faces of an
icosahedron is the square of the frequency times the particular prime number 5,
multiplied by 2, and finally plus 2. Here we can notice another appearance of
additive twoness.
Clusters of such rare gas atoms as argon and xenon are stable since they form
icosahedral packing structures. Their magic numbers are said to be 13,55, and 147.
These values can be obtained by adding successively the numbers of the points of
the Of icosahedron, If icosahedron, 2f icosahedron, and 3f icosahedron, 1, 12,42,
92, respectively. That is, 13=1+12, 55=13+42, and 147=55+92. The synergetic
modules used here are only the tetrahedron I and the octahedron J. The filling has
no internal dodecahedron structure but has perfect 5-fold symmetry.
This means that the icosahedron in a cluster form has no non-periodic combination
and has a self-similar structure with perfect 5-fold symmetry. This geometrical
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model is a good example to explain non-formative quantum leaps in physics. The
fact that the magic numbers can be calculated this way, even though the edges of
modules I and J are not equilateral, suggests that the closest packing by identical
spheres is not an appropriate geometrical model for these clusters.
Synergetic modules with growth ability and interchangeability repeated in the
hierarchical combination quantize the volume of 5-fold symmetric polyhedra.
There exists a system which cannot be guessed only from the individual modules.
Each synergetic module does not appear as a macroscopic shape in the hierarchy. In
other words, synergetic modules form the structures and patterns as a whole by some
system unpredictable from its parts.

Flgure 7: A regular bexabedron whJeb lnscribd a dodecahedron

We will ultimately obtain only tetrahedral modules if we divide the
octahedral modules in the modules and decrease the degree of
symmetry. If we use such 'minimum' tetrahedral modules, we can fill a
regular hexahedron which inscribes a dodecahedron. In this case, modules
are arranged symmetrically with respect to the kernel of the icosahedron
which takes the regular hexahedral arrangement. Therefore, the 5·3·2
symmetry and the 4·3·2 symmetry can coe:tist in this space filling. In other
words, if we ur,e these tetrahedral modules, we can obtain both hierarchical
systems of icosahedra and regular hexahedra. Note that even in this case,
the golden ratio between volumes of modules i& kept.

HIERARCHICAL MODEL OF RHOMBIC TRIACONTAHEDRON

My discovery of the hierarchical model for the rhombic triacontahedron was
motivated by the discovery of a dodecahedron whose edge length is an integer
multiple of 1.0 (the edge length of the If icosahedron) in the course of the
combming of synergetic modules. Dodecahedra whose edge length is an integer
multiple of 1.618 are necessary to grow icosahedra whose edge length is an integer
multiple of 1.0, while dodecahedra whose edge length is an integer multiple of 1.0
are not needed at all.
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The internal structure of a Hypermatrix

Figure 8: Hypermatrlx
I call the wire-frame model of the hierarchy made by the synergetic modules the hypermatrix. The three
kinds of vectors whose lengths are in the ratios 0.95, 1.0, & 1.618 and the angles of combinations of the
31 rotation axes make up a complicated shell structure system. On the 5-fold axes (one of them is shown
in the figure) and the 3-fold axes, there are parallel and consecutive layers perpendicular to the axes.
Each layer is a non-equilateral and non-periodic truss composed of tetrahedra and octahedra, which can
be obtained at a small cost of energy and is dynamically stable. There must be a regular pentagon on the
layers perpendicular to a 5-fold axis. The number 3 in the figure illustrates the layer which appears in the
4/ icosahedron.

I thought that a dodecahedron whose edge length is an integer multiple of 1.0

belonged to another hierarchy and tried to find a rhombic triacontahedron which
circumscribes this dodecahedron. I eventually succeeded in filling a rhombic
triacontahedron that has 5-3-2 symmetry hierarchically with a 3-dimensional
combination of irrational diagonals and non-integer angles as in the case of the
icosahedron.
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In projective geometry, a rhombic triacontahedron can be constructed from the

duality of the golden ratio between an icosahedron and a dodecahedron. However,
it cannot be constructed in our hierarchical system although the icosahedron,
dodecahedron, and rhombic triacontahedron with the same center have the same 5-
3-2 symmetry. The reason is that a dodecahedron whose edge length is a multiple of
1.618 can inscribe an icosahedron whose edge length is a multiple of 1.0 while a
dodecahedron whose edge length is a multiple of 1.0 can inscribe a rhombic
triacontahedron whose edge length is a multiple of 0.95. Therefore dodecahedra,
icosahedra and rhombic triacontahedra cannot constitute a single hierarchical
structure. That is, icosahedra and rhombic triacontahedra constitute their own
hierarchical structures, respectively.
On the other hand, these two hierarchical structures do share some first shells from
the first If icosahedron with edge length 1.0 to the first dodecahedron with edge
length 1.618. In the hierarchy of rhombic triacontahedra, however, only inside
are used beyond the first dodecahedron.

Thus, if we call the If icosahedron the initial nucleus, the first dodecahedron
common to the both hierarchies can be thought of as the second nucleus. Here
emerges a hierarchy of nucleuses. The initial nucleus and the second nucleus are
dual to each other. The duality in the hierarchy is based on the time axis of the
frequency growth.
As the frequency of rhombic triacontahedra whose rhombic faces make a lattice of
isosceles triangles increases, synergetic modules are able to completely fill them.
Rhombic triacontahedra grow symmetrically, forming non-periodic parallel layers
perpendicular to the radial direction from the center just as in icosahedra. The
synergetic modules also maintain growth ability and interchangeability in this case.
The first rhombic triacontahedron appearing in this hierarchy is the 2f rhombic
triacontahedron with edge lengths of 0.95. Before it appears, there appear a 2f
dodecahedron with edge length 1.0, a If truncated rhombic hecatoicosahedron
with edge length 1.618 and a If dodecahedron with edge length 1.618 which is
common to the hierarchy of icosahedra. They all have 5-3-2 symmetry.
Beyond the 2f rhombic triacontahedron, similar shell patterns to those which have
appeared so far are replicated every second time. That is, the period of the
hierarchy is 2.
A rhombic triakisicosahedron inscribes the If dodecahedron with edge length
1.618. A rhombic icosahedron adjoins to each of its 12 cavities in the hierarchy of
rhombic triacontahedra. A If rhombic triacontahedron can be formed by sharing
structural parts of these two kinds of polyhedra.
Choose one 5·fold axis, then we can find a If rhombic triacontahedron whose
center is on the axis and which contacts both the center and one of the vertices of
the 2f rhombic triacontahedron. This If rhombic triacontahedron does not share
the center with other shell structures, and its diameter is just half that of the 2f
rhombic triacontahedron.
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Hence we have now two If rhombic triacontahedra which contact each other at the
center of the hierarchy.
Rhombic triakisicosahedra, rhombic triacontahedra, and rhombic icosahedra can
be composed of and 06' However, there appear parallel layers with non-
periodic patterns successively in our hierarchical system of synergetic modules
unlike the construction by A<, and 06' There are 7 layers in the If rhombic
triacontahedron and 14 layers in the 2f rhombic triacontahedron.

Filure 9: Rotation symmetry axes or the kosabedron

Axes which link two antipodal vertices are 5-fold axes (a). Since there are 12 vertices, there are six 5-fold
axes. There are fifteen 2-fold axes, each of which links two antipodal midpoints of the edges (c). There
are ten 3-fold axes, each of which links two antipodal centers of the faces (b). Hence we have thirty-one
5-3-2 symmetry axes in total. We call the cross section which cuts the icosahedron into two identical
pieces at a plane perpendicular to a rotational axis a great circle. There are 31 great circles since there
are 6 great circles (a) on 5-fold axes, 10 (b) on 3-fold axes, and 15 (c) on 2-fold axes. The 8 angles which
appear in the synergetic modules are the central angles between these great circles: 31.717 degrees, 36
degrees, 58.283 degrees, 60 degrees, 63.435 degrees, 72 degrees, 108 degrees, and 116.565 degrees.

I found two new polyhedra in the growth process from a If to a 2f rhombic

triacontahedron. One is the rhombic hecatoicosahedron composed of 120 identical
rhombuses. This polyhedron can be obtained by joining 12 rhombic icosahedra
around a rhombic triakisicosahedron. The other is a truncated rhombic
triacontahedron composed of 12 regular pentagons and 30 regular hexagons.
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There is another hierarchy in which a Kepler's smaU steUated dodecahedron can be

obtained by joining 12 pentagonal pyramids composed of modules F and E to a 2/
rhombic triacontahedron. In the course of filling the vacant space among these
pyramids, there appears Kepler's great dodecahedron. If we go further to fill the
triangular pyramidal cavities in the great dodecahedron, we get another big
rhombic triacontahedron.

Figure 10: 5-3-2 Rotational symmetry axes

A rhombic triacontahedron can be divided into 120 identical tetrahedra (a-b-c-o in the figure). Once this
division is done, we can integrate polyhedra with 5-3-2 rotation symmetry simultaneously. If we focus our
attention on the rhombuses on the surface, we find a rhombic triacontahedron. If we focus our attention
on the longer diagonals in the rhombuses, we find an icosahedron. If we focus our attention on the
shorter diagonals in the rhombuses, we find a dodecahedron. In other words, 62 radial lines from the
center amount to 31 rotational symmetry axes which are common to the rhombic triacontahedron,
icosahedron and dodecahedron. All the combinations of edges at lattice points in the hypt:mUltrix can be
represented by the combination or the central angles made by these 31 rotational symmetry axes.

The possibility of radial symmetrical combinations of modules increases and 5-fold

symmetry can be reproduced more abundantly as the frequency increases. Since
only inside modules are used in the growth process, the volumes of polyhedra
appearing in the hierarchy of rhombic triacontahedra are not integer valued except
for the first few. Instead, they are intrinsically related to the golden ratio.
The formulas I discovered with respect to the hierarchy of rhombic triacontahedra
are as follows :
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N = (2 x 3 x 5) f +2
V = (1 + .[5") x (2 x 3 x 5) P
where N, -v, & f mean the number of vertices, the volume and the frequency
(which has to be even), respectively.
From another viewpoint, a rhombic triacontahedron is obtained by adding 12
pentagonal pyramids to a dodecahedron. Hence we can calculate the volume of a
dodecahedron whose edge length is an integer multiple of 1.0 by the formula:
V = (1 + V5) x (2 x 3 x 5) f3_12v'5" f3
The volume of each pentagonal pyramid is -ISj3.

HYPERMATRIX
Synergetic modules can fill the two Platonic regular polyhedra, the dodecahedron,
and the icosahedron, which were not filled by the unit cells in traditional
crystallography, but they can also fill the rhombic triacontahedron, which was a
basic element in traditional crystallography. This suggests that the hierarchies of
icosahedra and rhombic triacontahedra bring in new lattices with different
characteristics from those space lattices in traditional crystallography.
The space lattices which explain crystal structures in traditional crystallography are
composed of identical unit lattices which are arranged periodically, each of which
has the same peripheral arrangement. Each point can be obtained by translation
and all points are equivalent. The form of the basic unit cell which determines the
crystal can vary indefinitely.
The lattices formed by the hierarchy made from synergetic modules form a kind of
wire frame of the corresponding sheIl structures. Unlike the lattices so far, they do
not spread infinitely, but form a closed space within each shell structure. This
growth limit results from 5-fold symmetry.
The lattices growing along their rotational symmetrical axes in the hierarchies of
icosahedra and rhombic triacontahedra are called the hypennatrix.
The ratios of lengths for the three vectors in the hypennatrix are 0.95, 1.0, &
1.618, lengths which exist inherently in the icosahedron. The space group
hypennatrix for concentric polyhedra is formed by these ratios and the 31 rotational
axes; again they are the 12 radial directions toward the icosahedron vertices, 20
radial directions toward the icosahedron face centers, and 30 radial directions
toward the icosahedron edge centers.
Any point has 5-3-2 symmetry and thereby has the possibility of being a nucleus.
However, one of the points is selected as the nucleus and lattice points whose
peripheral arrangement are mutually different are obtained by symmetrical
radiation of the ten types of synergetic modules.
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As described above, there are two hierarchies beyond the If dodecahedron with
edge length 1.618. However, the concepts of frequency, 5-3-2 symmetry, shell
filling, quantization, 31 rotation axes, complementariness of tetrahedral and
octahedral modules, non-periodicity, periodicity of the hierarchy, face and back,
polarity, right-handedness and left-handedness, and radial growth are independent
on the scale of the hypermatrix.
Five-fold symmetry is one of the generalized characteristics of the hypermatrix
integrated radially in the concentric hierarchy.

FORMS AND MODELS

In 1985, L Pauling pointed out that the quasicrystal alloy Al86Mn14 with 5-fold
symmetry does not match any Bravais lattice and has a twin structure of more than
one regular hexahedra. In 1986, T. Rajasekharan reported that the 5-3-2 symmetric
units of the quasicrystal alloy Mg3(AI, Zn)49 are filled in the body-centered cubic
lattice and that quasicrystals of AI Cu Fe family form the face-centered cubic
lattice.
A P. Tsai and others confirmed in their experiments that if three metal elements
can be fused into a metal alloy by the liquid quenching method, the ratio of the
radii of the solvent atom and the solute atom is 1 to between 0.85 and 0.95. The
other ratio 1.618 can be detected as the distance between atoms by electron
diffraction image.
This suggests an important analogy between the forms of quasicrystals and the
formation and growth of the synergetic modules.
Each octahedron in the synergetic modules can be further divided symmetrically into
two tetrahedra. Thus, we have now only tetrahedral modules. Therefore, these
tetrahedral modules can be thought of as the minimum modules with the highest
interchangeability which can be derived from the icosahedron. By using these
minimum tetrahedral modules, we can obtain a shell in the shape of a regular
hexahedron which has no 5-fold symmetry in the hierarchy of icosahedra. This is a
regular hexahedron with edge length 2.618 which inscribes the If dodecahedron
with edge length 1.618. Here, the 4-fold axis of the hexahedron and 2-fold axis of
the icosahedron coincide with each other, as well as the 3-fold axis of the
hexahedron and the 3-fold axis of the icosahedron.
The fact that some of the 31 rotational axes of the icosahedron and the rotational
axes of the hexahedron are common in the hypermatrix suggests that the 4-3-2
symmetry of the hexahedron and the 5-3-2 symmetry of the icosahedron are fused
physically.
Moreover, the fact that there are 5-fold symmetric shells inside the hexahedron (in
fact, there is an icosahedron and an icosidodecahedron inside) suggests that the
discrimination between crystals and quasicrystals by the concept of periodicity is
not essential. This fact seems to fade out the contrast between quasicrystals and
crystals smoothly and naturally.
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Form is the spatial arrangement of constituents in a material. Positions of

individual atoms have come to be detectable by the rapid development of electron
diffraction and X-ray diffraction technology. However, the structural patterns
behind the form appear to be more important than the information of individual
constituents.
In other words, the arrangement of the modules is far more important than the
forms of the modules themselves.
The hypermatrix displays the interaction between real substances and
concepts, but is not an illustrative reproduction of the spatial arrangement of the
constituents of real materials. Hierarchical models made with the synergetic
modules do not require that there really exist ten new types of unit cells
corresponding to the modules. Instead, it is a visualization of a closed abstract
system of relations between atoms.
The hypermatrix woven by the angles of the three kinds of rotational axes of the
icosahedron and the three kinds of vectors of the synergetic modules represents a
symmetry with very high structural stability, as in nature, where all things are
structured in triangles.

REFERENCES
Baer, S (1970) Zome Primer, 2':ome-Works Corp., pp. 6-9.
Fuller, R. B. (1975) Synergetics, Vol. I, Macmillan Pub!. Co., p. 250.
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Syrnrnary: Culture and Science
VoL 3, No. 2, 1992, 137-145

A REPORT ON PROGRESS TOWARD AN

ISIS-SYMMETRY INTERTAXONOFvIY
H. T. Goranson

Sirius-,8
1976 Munden Point, Virginia Beach, VA 23457-1227, U.S.A
Phone: 804/426-6704, E-mail: goranson@isi.edu

INTRODUCTION
Among the first tasks of a new professional society is to define what it is all about.
This must be focused at a level of detail to which each individual member-worker
can relate. The definition of the work of the society is especially important in the
interdisciplinary case, where the membership shares no common disciplinary
vocabulary. In this case, a common skeleton must exist or be created, one which
allows members to relate their work to one another. In fact, the very reason for
forming ISIS.Symmetry (ISIS-S) was to take advantage of the wonderfully
symbiotic contributions from work from disparate areas related through symmetry.
The first order in providing this skeleton for interdisciplinary sharing is the
creation (and support) of a taxonomy for the society·1. At minimum, such a
taxonomy will be useful for indexing papers, works, etc. in a bibliographic sense. It
may well also provide a basis for a common vocabulary to examine the relationships
among different individual disciplines. In that ca.<ie, interdisciplinary value would be
added to the dialogue about and the rationale for ISIS-S . The benefits of
participation in ISIS-S would be greatly increased. New perspectives may emerge.
The need for such a taxonomy was raised in Budapest in 1989. 'A project area' was
proposed, and a board position established related to the scientific questions
surrounding the problem. The project was announced in the Journal (Goranson,
1990).
Some parallel efforts are underway in a similar international, interdisciplinary
forum, so some initial thinking has been done. These initial thoughts were
presented in Hiroshima as a proposed starting point for the project (Goranson,
1992). They are summarized in this report.
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138 H. To GORANSON

NATURE OF TAXONOMIES
Normally, a taxonomy for a discipline is not so much a project involving ideas as it
is an accounting process. This is so because each individual discipline develops a
fundamental set of concepts, uses· a language (including shorthands, often
mathematical) to express those concepts, and adopts certain elements of a
worldview. In such a case, taxonomic controversies are few as the system evolves
from the same consensus that forms the basis of the discipline.
Such taxonomies are normally simple in structure for three reasons:
- no formal process was considered in their development;
- they reflect the historical development of categories, for example, a subdiscipline
is classed under a 'parent' discipline if its history derived from that parent.
- the underlying 'world view' is sufficiently robust to allow the taxonomy itself to
beweak$2.

For these reasons, the simplest taxonomic structure is also the most common.
Everywhere one turns, one finds hierarchical taxonomic structures. In textual form,
these are 'indented' lists, often using tabs and/or some labeling scheme to show
which is the parent entry and which is the child. In graphical form, these take the
form of 'tree' structures which more clearly show levels and dominance. The
indexing system used by Mathematical Reviews (which indexes this journal) is of
the indented type, shown here generically in tree form.

Figure 1

When one computerizes indexes and their taxonomies, the mechanics must be
made more formal if they are not already sufficiently so. For example, the need to
digitally store hierarchical indices has spawned a set of formal mechanisms of the
'indentured' type (similar to 'indented'). In this family, specific rules are developed
as to what properties (or components of the 'world view') are inherited by the child,
when the influence stops, how deep it goes and so on.
Such formal considerations are made necessary by the recent progress by the
information science community into taxonomic considerations. As a result, new
insights about how concepts are represented have emerged. These principles can be
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TOWARD AN /S/5-5 /NTERTAXONOMY 139

loosely considered as a new science of taxonomies, or more properly: 'Category

Theory'. (See Asperti, 1991 for an introduction). The taxonomic principles depend
heavily on concepts of symmetry and incidentally may be of significant utility in
helping ISIS-S members understand one another.

THE SPECIAL NEEDS OF ISIS-S

ISIS-S is an interesting case. The disciplines represented within the society do not
share a common parent science (at least not in historical times). There is no default
consensus world view or shared language. The opposite is the case; maintaining the
diversity of worldviews is the point. But this places the burden of providing a lowest
common denominator for intercourse on the taxonomy.
A hierarchical breakdown of disciplines will not do for ISIS-S . Anyone researcher
may feel comfortable breaking disciplines into certain parents and children. But the
distance between any two entries is somewhat arbitrary and the result will be seen
as unacceptable to others. Figure 1 shows an example. It may be common practice
to classify some crystallographic work deep within the physical sciences and
similarly to place an example activity of cell morphology under the life sciences.
Yet the analytical tools of certain workers may be much closer than the distance
infers.
Is there a taxonomic methodology which would capture the similarity of the two
disciplines? Could it indicate the linkages from individual workers which may share
a common theoretical basis while maintaining differing applications? Could the
many linkages contained therein be united under one common set of principles?
Could those principles be the principles of symmetry? Finally, would it be possible
for future researchers (or philosophers, theoreticians, indeed artists) to glean new
insights into the fundamental (i.e. symmetric) principles which underlie the
taxonomy?

ISIS-S CAN LEVERAGE NEW RESULTS

I believe that all of these questions can be answered in the affirmative. My
confidence comes from taxonomic studies sponsored under international aegis on a
similar problem. (Petrie, 1992, especially 10 the nine contributions of Goranson,
define the problem and project.) In that case, the problem deals with the problem
of common indexing, via computer, of the thousands of disciplines which must be
coordinated in a large, complex industrial enterprise. Examples are semiconductor
or aerospace enterprises.
This interdisciplinary work is well resourced and involves many bright minds and
institutions. New results have emerged, some in fundamental new practical
techniques. It may be no surprise to ISIS-S that a fundamental principle of such
efforts involves symmetry. It appears that those techniques are applicable to the
ISIS-S problem, resulting in a remarkable proposal: to use principles of symmetry
to index work related to symmetry.
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In particular, three techniques from this project can be put into service for the
ISIS-S taxonomy. Each of these is briefly discussed below.

FIRST TECHNIQUE: A FEDERATED TAXONOMY

A guiding principle of the ISIS-S taxonomy project is the eschewing of creating yet
another discipline, with its unique taxonomy. Instead, the ISIS-S taxonomy should
allow the taxonomies of each individual dLc;cipline to be eminent. In such a case, the
ISIS-S taxonomy would federate the taxonomies of the individual disciplines
involved.
'Federation' is understood here as a special kind of synthesis, where the individual
sources are preserved and are unconstrained. The federation mechanism is a unifier
which allows concepts to be expressed in a neutral form. The most useful
characteristic of a fully federated index is that each user can fully express the whole
index in his/her own system.
As an example, our previously mentioned crystallographer has a set of indices and
related tools to express the world; the molecular biologist another set, perhaps
quite different. An unacceptable approach to enhancing the interdisciplinary
dialogue is to force each to use a third, 'lowest common denominator' system.
A much better way is to provide a federating mechanism which maps or transforms
perspectives, even concepts from one system into another. In this case, each
mdividual uses the worldviews which are natural and the tools which are efficacious
to the discipline.
Federated systems are much more challenging to create than traditional trees. It
appears that two underlyin& mechanisms are required: A shared, higher unifying
principle and a 'technology' 3 to support the transformation process of one system
to another. The ISIS-S project has the former in SYMMETRY, and the latter in the
condition of proliferating personal computing.
The first use for the federating, or intertaxonomy will probably be to index journal
contributions. Nearly all of the disciplines involved in ISIS-S which have such
indices, have automated tools for reference management. So the 'source' indices
are already to a large extent computerized.
It is also presumably the case that most persons likely to find an intertaxonomy
useful will have access to a computer. It is the in the nature of the society to be
distributed globally. One would expect electronic media, such as the email journal,
to be more preferred for many ISIS-S members.

SECOND TECHNIQUE: METASTRUcruRE

Methods of abstraction are fundamental to understanding. When one abstracts
according to a structured system, he/she can reason in the abstraction in order to
gain insights into the primary situation. It appears that all useful abstract systems
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have an internal structure. One could term this a 'physics', a 'grammar' or a

'mathematics', depending on one's background. The challenge of federation
therefore depends on discovering an underlying, global structure of these individual
structures.
This structure of structure, or METASTRUCTURE, would form the basis of the
federation mechanism of an intertaxonomy, so is of especial interest. A simple
example of metastructure is indicated in the figure 3. A (US) national laboratory
has crystallographers and molecular biologists collaborating on a project. They
were in need of common computerized models that both could use.
Among the problems encountered were profound differences in as fundamental a
concept as the periodic table of elements. Each discipline had specific properties of
the periodicity which were emphasized. But this difference in emphasis was
sufficiently substantial to make the models distinct in structure. Resulting models
from the system could not be related and the collaboration was threatened. Figure
2 schematically shows the two views·4• Note the fundamental differences in
structure.

/Ie /lie Ac La
preferred by Inorganlcs (Ie materials scientists)
Ir

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VilA At CI H
Preferred by Organics (Ie mIcrobIologIsts)

Fi&ure 1: Two periodic tables.

There were also many other disCipline-specific twists in this area, each peculiar to a
different group of researchers and resulting in a 'different' periodic table. The
solution was to devise a structure of these structures. (The method used is indicated
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by the number, types and relationships of the 'loops' shown on the left.) In a sense,
this metastructure was a periodic table of periodic tables. At the same time, it
contained all of the information of the various views.
Symmetry appears to be the only practical mechanism for creating and
understanding these metastructures. (von Fraassen, 1989 is representative of the
best presentations in this vein.) However, in considerations of symmetry, the
application of metastructure is more straightforward than in the general case of
metaphysics. This is because the fonn of the sources emphasizes the symmetric
principles which can be leveraged for abstracting to a higher structural level. The
most accessible use of this principle is Haresh Lalvani's work where polyhedral
structures are used as an organizing mechanism for types of polyhedral forms.
(Lalvani, 1982 and 1992 are representative of his work in this area.)

THIRD PRINCIPLE: LATIICES

The final basic technique proposed for use in the taxonomy project is the
CONCEPT LATTICE. The idea originated in the set and group theoretical branch
of mathematics (Wille, 1987); formally speaking, the technique defines the
structure of relationships which themselves can be structures of relationships. As
such, it can provide a theoretical foundation for a metastructure to federate
individual taxonomies.
But the technique is useful for another reason: apart from the mathematics, it
provides an intuitively accessible way of visualizing relationships, much like the
'tree' diagram of Figure 1, or the richer type of Figure 2. The approach has special
power when the symmetry of the lattice is regulated. If this is done, all of the
important properties of the lattice can be described and easily seen in terms of
symmetry characteristics.
Figure 3 shows a simple concept lattice as an illustrative example. This type of
lattice is directional, though many other, more powerful, types exist. Each of the
four directions imparts a property, as shown by the four arrows. The lattice shows
the same relationships as the table shown in Figure 4, a simple characterization of
ten (fictitious) source taxonomies.
The ten rows of the table denote ten example disciplines. Row one might be a
library discipline. The note indicates that this may be an ISIS-S contribution
related to the properties of 'classifying classification'. This paper is an example.
Row #7 is noted as a contribution on the symmetriC properties of stained glass
design (a personal interest of this reporter).
The first three columns show whether a property is held by one of the ten or not. A
marker indicates yes; for example the study of stained glass work ( row #7)
emphasizes the use of intuitive methods, whereas row #6 does not. (It may be a
more pedantic discipline or contribution.) The fourth column is more
sophisticated. It shows, in crude sense, degree. An entry of 1 indicates some degree
of the property - 2 shows twice that degree. So that the taxonomy paper (row #1)
emphasizes intuitive access to the internal mechanics of the work to twice the
extent that the fictitious contribution of row #7.
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origin
Figure 3: A simple concept lattice.

Turning to the lattice, one begins at the bottom. Moving in a direction bestows the
property of that direction (shown by the four 'arrows'). So moving one unit in the
direction of 1:00 denotes the property of 'using mathematical techniques', the same
as the third column in the table. An entry of '3' at this node, shows that row #3 has
that property and no other. Note that the notion of two levels of degree from
column four shows in the lattice as a doubling of the basic cell.
In this simple example, the lattice appears to be a more complex system than the
table. But in meaningful situations, the number of rows and columns is very large.
And the table would require many dimensions. For example, there is a relationship
(in our example) between whether the discipline uses intuitive methods (as in
designing stained glass), and whether the discipline (as in understanding stained
glass effects) emphasizes intuitive access. As a result, tables would have to be many
dimensioned with additional tables to show column-to-column relationships.
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1
2
3 For example, Classifying
4 2 Classification Schemes
5
6 1
7 1
8
9 2
10 2
For Example, Stained Glass Work

Figure 4: A table view of the lattice relationships.

As the situation represented grows more complex, the lattice does not, and therein
lies its power. Every entry and property can be formally characterized by a few,
fundamental symmetry properties. It is also the case that tree representations,
tables and other conventional representations can be extracted from the Jattice. In
a practical sense, this means that the stained glass artist could have the entire
lattice represented in whatever simple tree structure he or she is used to. This
satisfies the requirement for federation.
Lattices used by Sirius-Beta for similar representation applications use techniques
not shown in the example: the lattices are infinite and have multiple dimensions
(internal to the machine); the lattices are dynamically linked among differing
symmetry types; and new 'intersymmetries' are extracted for special shortcuts.

NEXT ACTIONS
These three techniques are proposed as a beginning dialogue toward ISIS-S
intertaxonomy. It is hoped that reaction to the proposal will prompt some
response, and initiate the project as an activity within ISIS-S . In a future report, we
wiII provide an example drawn from recent ISIS-S contributions.
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REMARKS

·1 Another required task is to coherently recount the intellectual history behind the shared ideas. Note
careful surveys (Naty > 1990).
·2 Another perspective is that the formally coll5idered elements of the taxonomy are kept vital in the
world view, and the discipline's indexing systems is a mere artifact (as are the papers, etc.). In
either case, attention is not paid to the explicit formal basis of the taxanomic system.
·3 The term is used here in the moat general sense to include: spoken language, the printed word,
diagrams and mathematical tools as well as more conventionally described technologies.
·4 The schematic representations are derived from Mazurs (1957), a study in alternative
representations of the periodic table.

REFERENCES

Asperti, A and Longo, G. (1991) CQlegories, Types and Structures, Cambridge, MA: MIT Press.
Goranson, H. T. (1990) Proposal for a Taxonomy Project, Symmetry: CulJure and Science, Vol. I, No.2,
208.
Goranson, H. T. (1992) Report on a symmetry-based universal grammar for federation of models,
Symmetry: Culture and Science, Vol. 3, No. 1,22-23.
Lalvani, H. (1982) Structures on Hyper-Structures, New York: Lalvani.
Lalvani, H. (1992) The meta-morphology of polyhedral clusters, Symmetry: Culture and Science, Vol. 3,
No. 1,50-51.
Mazurs, E. G. (1957) Types of Graphic Representation of the Periodic Systt:m of Chemical Elt:mt:nts,
Published by the author.
Nagy, D. (1990) Manifesto on (dis)symmetry: With some preliminary symmetries, Symmetry: Culture
and Science, Vol. I, No.1, 3-26.
Petrie, C. J., ed. (1992) Entaprise Integration Modeling, Cambridge, MA: MIT Press.
van Fraassen, B. C. (1989) Laws and Symmetry, Oxford: Claredon Press.
Wille, R. (1987) Subdirect product construction of roncept lattices, Discrete Mathematics, 63,305.
 RY
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Symmetry: CulJure and Science
VoL 3, No. 2, 1992, 147-178

EXTENDED ABSTRACTS

SYMMETRY OF PATIERNS
Part 2

CONTENTS

Fujihata, Masaki: Form: by script and/or image 148

Gibbon, John: Polyhedral modeling as a preparation for the
creation of visual music 150
Goforth, Ron R.: Using asymmetrical probability density functions
(PDFS) in simulations 152
Huttner, Per: A few thoughts around the instalIation Japanese graffiti 154
Kawasaki, Toshikazu: Origami architecture 156
Kono, Kimitoshi: Experimental study of waves in Fibonacci
and Penrose lattices 158
Maekawa, Jun: Evolution of origami models 160
Matsuno, Koichiro: An origin of symmetry breaking: Irreversible
thermodynamics from an internalist perspective 162
McCracken, Pamela K. and Huff, William S.: WalIpapers precisely 17:
An eye-opening confirmation 164
Ogawa, Tohru: Some geometrical attempts.
Quasicrystals, fractal tesselIation, ideal critical pattern 166
Schwabe, Caspar: Flexing polyhedra 168
Tsai, An-Pang and Masumoto, Tsuyoshi: Growth and shapes in quasicrystals 170
Pictures from the Symposium 172
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FORM: BY SCRIPT AND/OR IMAGE

Masaki FUJll-lATA
Faculty of Environmenla1 Information, Keio University
5322 Endou Fujisawa, Kanagawa. JAPAN
E-Mail masaki@sfc.keio.ac.jp

Preface

I am an artist who usc<s the computer as a tool or environment for expression. In preparation for
creating with a computer, one must devise an order consisting of commands and data. What results are
algorithms which are formed by the ideas and procedure involved, expressed in explicit detail.
Combined, they comprise a script for creating graphic images. Because scripts require so much
thinking about the steps involved, I have been prompted to rethink the process of creation.

Only the objects which can be ttanslated into numbers are visible on the screen. At that moment, the
image and its script are placed as a composition of symmetry.

I: Image and Script are in Symmetry

Since I frrst encountered computer graphics techniques in the early 80's, the prevailing interface with
the computer has been the "command line interface." This approach requires a "command" (function)
and a "target" (parameter) to defUle the purposes of the action. Both components are crafted into a
textual script, which in the case of 3-dimensional images, defines the image. The user, the artist, must
deal with numbers and commands in the context of such a script. Clarifying the image necessarily
involves manipulating the script. If any pan of the script changes, the resultant image will change.

My day-to-day experience with this process suggests that the script and the image are standing on
alternative sides of a mirror. But the reflection is one-way only,from the script to the image.

( In the future the reflection may be more two-way. allowing more interesting metaphors of the world in the way the
user sees the "script." tnteraetivity is may be a key 10 open two-way reflection. Already most 2- dimensional software
aUowl the artist to interface with and manipulate the image interactively. directly on the screen. In fact the script is
still there. but is hidden from the user for convenience. The numbers are still acting and running inside the computer.)

2: The Computer is a Type of Modeler

Computer programs are formed from our sequences of thinking and acting. The computer acts by
following and tracing our process of thoughts through manipulat- ing programs and data. For
example. algorithms included in computer-graphics programs are ITanSformed from Newtonian models
of physics. optics and geometry. It is a simulation of the model of our viewing-system in the 19th
Century's style.

We can use computer technology as a modeler. and we can model a pan of our world inside the
computer. Then we can see our modeled world from the outside, in the image. The reflection of the
world in the model re-auracts me to the notion of a symmetrical composition. It is important that this
notion comes directly from daily experience with this process.
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3: The Pre-formative stage

A fascinating element of the symmetrical reflection arises when one considers that the image produced
is IlOt physically realized and is an iIlusiolL 11le "original" image exists only in the mind of the artist
and needs to be transfonned into a form in order to be expressed. Here, the real creation involves both
the power of realization techniques and the power of imagination.

The poet uses words as elements for creating a poem to express his "fonn", When we read a good
poem, we get the fonn in our minds. The painter uses pigments as elements. canvas and brush as tools
for fixing an image of his "fonn". ThiS. painted 2- dimlnsional image projects the form into the viewer's
mind. 11le viewer can understand the "fonn" and communicate his impressions, perhaps into words.

The point is simple that we. as expression-ists need to make the o'ljects from our imagination.

4: A Conclusion?

Scripts for computer image generation and the final image are the same object. For the human, image is
intuitively understandable. but scripts for computers are not. In the case of the computer. scripts are a
poem fonning the "Conn." Here we are standing in a strange
place. The modeling power of the computer gives us the ability to simulate on screen this strange
environment. Thus, the reflection between scripts and images brings us to a place of
"self-reflective-symmetry."

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The image in the left window was drawn from the script in \he right window.
This software was programmed by the auther, for the purpose of demonstration.
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POLYHEDRAL MODELING AS A PREPARATION

FOR TIlE CREATION OF VISUAL MUSIC

John Gibbon
3435 W. Big Tuyunga CNY. Rd., Tujunga, CA 91042, U.S.A

As used here the term 'visual music' will be used to denote a sequence of images
that transform from one to another with the passage of time. It mayor may not be
accompanied by conventional aural music and the performing musician may be
enjoying aural or visual feedback, or both from his essentially kinesthetic input.
Computer graphics is the medium that currently could facilitate its unfoldment. To
enable this to take place in real time, the system of image generation will need to
be user friendly to the performer, and economical in the information used to
describe aesthetically acceptable images in order to be affordable. What is required
is an organizing principle comparable to the function of scale selection in aural
music. Useful scales are in fact subsets of all possible frequencies, as selected by
particular organizing principles. The imagery that would appear most suitable from
the twin viewpoints of simplicity, and efficiency of generation, could be selected
from those shapes that are both highly symmetrical, and not removed by too many
steps from simplicity itself, as represented by the undifferentiated sphere and its
most symmetrical progeny, the Platonic solids, followed by Archimedeans and their
duals.
These thirty-one shapes together with the prisms and antiprisms could be extended
by the addition of the ninety-two convex polyhedra made up of regular polygons,
and the uniform polyhedra, and the possibility of further additions from the
transpolyhedra of included shapes. Another group of shapes worthy of inclusion
could be the holohedrally symmetrical convex polyhedra of constant edge length.
These retain 2, 3, 4 or 5 fold symmetry at their familiar positions but as 4, 6, 8 or 10;
or 6, 9, 12 or 15; or 8, 12, 16 or 20 sided pOlygons, do not necessarily have to be
regular polygons. many of these polygons can be illustrated or constructed at the
workshop, but I do not yet know how many polyhedra qualify for this category.
They can be broken down to subgroups of polyhedra sharing the same kind of faces
which can have different shapes depending on where they meet each other. Such
members of SUbgroup are all connected to each other through an operation I term
edge insertion or edge subtraction.
When we take all the members of the families of shapes referred to above, the
vertices, and points where faces are tangential to a sphere, consist of a surprisingly
small number. It should be possible to compute them all, and with the help of a
simple color coding system ascribe a unique name to each in a language and
vocabulary with which we are already familiar. Furthermore the name itself would
immediately designate the approximate locality that we should expect to locate the
point, whether it represented a vertex, the center of a face, or a mid-edge. We can
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accomplish this by locating these, landmark as it were, within the context of what
Buckminster Fuller describes as the lowest common denominator triangles of the
tetrahedron, octahedron and icosahedron. A variety of coordinate systems could
accomplish this including Cartesian coordinates applied to axes through the center
point of a rhombus (square in the case of the tetrahedron), polar coordinates from
the same point, or the specification of the two angles. By ascribing a primary color
to each vertex of the L.C.O. triangle, we can then assign a unique mix of primary
colors to each point within the L.C.O. triangle. At this point we can adapt our
terminology from the available names used to describe shades of the color
spectrum. The perimeter of the triangle would consist of the colors of the
spectrum, while all points within the triangle would have some of all three colors
and consequently a component of white. What is proposed is that we designate two
fold axes in blue. three fold axes in green, and any third kind of axis whether 3, 4, or
5 fold in red. This largely corresponds to existing usage by two of the major
manufacturers of polyhedral models, Googolplex and BioCrystal, with the variation
that green would need to substitute for yellow to be compatible with R.G.B. system
suitable for computers. Perhaps if this symposium could endorse these proposalS, it
might encourage manufacturers to make available the necessary components.
Colors would apply to directions parallel to radii emanating from the center of an
object, and also to the planes of the great circles derived from such radii. Points on
the surface of a sphere would derive their color from the intercepting radius, and
would extend their influence to planes tangential to such points. This is going to
create substantially different appearances between the a face or plane defined
system, such as Googolplex, and an edge and vertex defined system such as
BioCrystal whose node system makes available only three types of edge direction,
but whose nodes could occupy an infinite variety of directions relative to the center
of a symmetrical polyhedron. Each of these directions within the L.C.O. triangle
could command its own color, although in practice yellOW, magenta, cyan, and
white would allow us to designate the vertices of the Archimedeans with the
exception of the snub polyhedra.

Models by John Gibbon

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USING ASYMMEI'RICAL PROBABILITY DENSITY FUNCTIONS (PDFS) IN

SIMULATIONS

R.R. (Ron) Goforth, Ph.D.

Computer Systems Engineering
University of Arkansas
AR 72701 USA
e-mail: rrg@engr.uarkedu

Simulations, even where valid models exist, are frequently limited by the availability of good
data. This is particularly true in an area of current global concern, namely, models for
forecasting the future incidence ofHIV/AIDS.

Epidemiological models and their corresponding computer simulations can be used to

determine the effects of varying assumptions concerning the mechanisms for the spread and
containment of the AIDS pandemic. Populations susceptible to AIDS, defined as sub-
populations of the general population, may be considered to be distinct classes within which
the number of AIDS cases propagate. The use of transmission categories allows definition
of distinct susceptible populations for which independent growth curves can be calculated.
Since crossover among these populations occurs, it is also necessary to provide for dynamic
interactions among them in the calculation of total incidence rates.

Data which are only partially quantified playa major complicating role in the significant
problem of forecasting the future course ofthe AIDS pandemic. For example, the likelihood
of HIV infection is a function of both the risk of infection per exposure and the frequency
of exposure. Factors such as these can best be described in terms of probabilities, and these
probabilities typically are difficult to estimate.

Current modeling and computer simulation tools do not effectively incorporate partial
information. Modelers are therefore forced to choose arbitrary numbers in order to use
existing modeling and simulation technology. In these cases, the reliability of the scenarios
generated becomes questionable. Never-the-less, simulation is a promising tool in predicting
the future course of the AIDS pandemic particularly in studies of the relative impacts of
alternative public health strategies.

The the focus of the work described here relates to logistic population growth in one mode
of HIV transmission,. specifically transmission through intravenous drug abuse, in an
HIV/AIDS epidemiological model. A typical resulting logisitc forecast is given in Figure
1. Simulations based on this model use ·poorly quantified· data derived from historical
sources and estimations of an upper bound (maximum size of the susceptible population).

Recent research has provided insight into the implications of using asymmetrical probability
density functions (pdfs) as contrasted to uniform or normally (symmetrically) distributed data.
This is an important consideration since many of the critical determining factors in
HIY/AIDS epidemiology are known to be skewed even if of uncertain mean values.
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logistic curve. static population

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Figure 1. Logistic growth of accumulated infections within a static population of suceptibles.

The products of an exact value and a symmetrical probability density function (pdf) or of two
symmetrical pdfs are symmetrical. The iterated products of asymmetrical pdfs with either
other asymmetrical or symmetrical pdfs may exhibit unexpected properties. These properties
may have profound effects on the behavior of complex models. In the domain under
consideration, population and epidemiological modeling, the underlying mechanisms dictate
that asymmetrical pdfs be used (e.g. determinants of mortality and natality across age cohorts
or the rate at which a population undergoes certain demographic changes).

A model and simulation that accommodates a dynamically changing population of

susceptibles, with asymmetrically distributed "refresh" rates (R), yields qualitatively different
growth curves as shown in Figure 2. Note the shifting minima and maxima

Logistic curve: dynamic population

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Figure 2. Logisitic growth within a range of dynamically changing populations of suceptibles.

Since data about the HIV/AIDS pandemic often is incompletely quantifiable, and cannot be
expressed. as simple numerical values, the use of other formalisms for expressing partially
quantified knowledge is critical. As these modes are added to a simulation, novel risks may
be introduced. These risks may be associated with limited understanding of the proper use
of semi-quantitative data, the issue of data independence or the presence of correlated
variables, and the implications of alternative mathematical operations on variables
representing asymmetrically distributed values.
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A FEW THOUGHTS AROUND THE INSTALLATION JAPANESE GRAFFITI

Per HUttner
c/o Sweger, Baggensg. 14, 111 31 Stockholm, Sweden

My artistic work revolves around the concept of the body/individual and

it's relation to social and political power structures, In my site specific
installations I often use science as a startingpoint to trigger·
philosphical reasonings around western democracy and it's relation to the
media, ethics (religious leftovers) and science,

I often use the concept of quantum mechanichs metamorphosed in many different

forms in my work. To have two contradictory concepts parallelly that both
can be true depending on the viewing point of the beholder, creates an
extremely interesting symmetry. This symmetry is a lot more powerful than
that created by sheer abolition of absolute truth::or:the.'concepL-of,'ehe. ideal,
which has been the focus of a lot of attention in contemporav art in recent
years,

When one accepts this plurality of truths one becomes free to juxtapose
contradictory statements or to mix elements with no apparent connotation
to previously unseen contextual units. This gives the artist and the behoider
keys to read, or visualize patterns that never before have been seen in
human cultural behavior. The best example of this so far is the midi-technics
and what it has meant to contemporary black music.

50 in one respect one can regard my installation "Japanese Graffiti" as

a Hip Hop version, or more pointedly a remix, of a problem that has' been
a central theme in my work for a long time - the relationship between rational
and emotional. These two enteties could be represented by a large number
of other opposites or simply by the two hemisperes of the brain. In the
installation I've chosen the latter to express this duality. I "ve copied
excerpts from a paper by 5.r. Witelson of the Mc Master University,
Hamilton, Canada on the functional asymmetries in the numan brain. I have
copied these texts in for direction to create a pattern. This pattern turned
to be very similar to that of details in Turkish rugs. I evolved this to
not simply copying the texts on top of details from various rugs but also
to include the actual rug as an integrated part of the installation. The
prescence of" a 19th century rug together with the visual distortion of
the texts challanges our conception of cultural conventions. Not only does
it force us to question cultural borders and the eurocentricity of these
conception, but it is also questioning our preconceptions about signs outside
the written language as a means of communication.

The primary reason for using'science as ametaphor·and as

part in my work is to try and understand our cultural inhibitions. We have
taken aboard a great deal of misconceptions about nature, which seems to
create a problem in our relation to our bodies. Christian ethics clearly
states that we"re above nature. This seems to be refering to the mind and
we"re stuck with our bodies that is still on the other side. It is a problem
that"s been dicussed since the concept of mind was brought alive, but maybe
if we can reestablish the symmetry between mind and body if we learn to
take aboard mpre contradictory information. And not constantly be refering
to our mind but sometimes give our bodies a chance. '
Japanese Graffiti, 1992, approx. 5x2x5 m, ink on paper and 19th century Central Anatolian Kilim rug, Installed at ....
Synergetics Institute, Hiroshima, Japan. The rug by kind permission of J. P. Willborg AB, Stockholm. t::
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ORIGAKI ARCHITECTURE

Toshikazu Kawasaki
Sasebo College of Technology
1-l,Okishin,Sasebo,Nagasaki,857-1I,Japan

Unit Origami is a new way of folding paper and joining the parts to form objects
without using scissor or paste.Kitsunobu Sonobe thought of a 6-unit modular cube
which is the origin of Unit Origami. In recent years, much work has done on the
development of Unit Origami by Tomoko Fuse.
Block c; is a 4-unit modular square cylinder. It is combined with other blocks
by using joints D, F and etc like E and G .You can construct cOllplelt architec'
ture by combining blocks. A block is very simple and has some symmetry. Its sym-
metry group is a free abelian group with order 4 generated by a half rotation
and a reflection. When you observe combined blocks, you may find new symmetry •

.. , \
. . . ,, ....
. .....
,
.. . . . .. . .

.. ::
.........
. .....
'.:::.:: :::
... ...
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157

Construction of blocks
{-_m

. «;%:;> _.+_.
E

insert

• D

....., /1 . .
"'-'---/,.. + ..

of blocks

half rotation reflecticn

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EXPERIMENTAL STUDY OF WAVES IN FIBONACCI

AND PENROSE LATTICES

Kimitoshi Kono
Institute for Solid State Physics, University of Tokyo
Roppongi, Tokyo, 106 Japan
E-mail: kono@ult.issp.u-tokyo.ac.jp

Recently, wave propagation in modulated structure has been receiving considerable atten-
tion. In particular, the wave propagation in quasiperiodic systems is of great importance,
since the phenomena have close relation to the physical properties of real quasicrystals.
The essence of the phenomena is lying in the interference between multiply scattered
waves in the modulated structure. In order to observe these effects experimentally, it is
inevitable to preserve the phase coherency during the multiple scattering. In this sense
the sound waves with little attenuation are favorable for the study of these phenomena.
Third sound is a wave propagating in superfiuid helium films, of which the attenuation is
small. Since it propagates in the adsorbed helium film, the modulation of the solid surface
can be used as the modulated structure in which third sound propagates. Recently, we
have developed an experimental method to study the transmission spectra of third sound
in one-dimensional lattices, which are discrete variations of the modulated structure. The
modulation of the surface was done with aluminum strips (width d SOlim). Periodic [1],
Fibonacci [2], Thue-Morse [3], and random [4J lattices were studied so far.

The Fibonacci sequence is generated by the following recurrence formula:

S.+l = {S._I> Sn}, with Sl = {B} and So = {A.}.

For example, S2 = {AB}, S3 = {BAB}, and S. = {ABBAB}. We have fabricated the
Fibonacci lattice by mapping A to an aluminum strip on a glass substrate, whereas B
to the bare glass surface of the same width. The Fibonacci lattice is a prototype of the
one-dimensional quasiperiodic lattice. The Penrose lattice can be produced by putting
the aluminum pads on a glass surface according to the rule which generates Penrose tiling.
The Penrose lattice is a prototype of the two-dimensional quasiperiodic lattice.

Figure 1 shows the transmission spectrum of third sound in the Fibonacci lattice, where k
is the wave number of third sound. Two large transmission gaps, where the transmitting
wave power is small, are observed. These transmission gaps locate at kd 1/r 2 and
kd 1/r, where r is golden ratio (r = (1 + v5)/2). The bands, where the wave is
transmitted fairly well, are eroded away further by smaller gaps in a nested way. Figure
2 shows the spectrum of third sound in the Penrose lattice. The inset shows how the
aluminum pads were distributed on the Penrose tiling. The length of the basis vector is
expressed by a. The structure in the spectrum is weaker than the Fibonacci case. The
similarity is noticed, however, between the spectrum in the Fibonacci lattice and that in
the Penrose lattice. The spectra in the other directions have to be measured, since the
lattice is two-dimensional.

The author is grateful to the Mitsubishi Foundation.

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REFERENCES
/1] K. Kana, S. Nakada, a.nd Y. Narahara, J. Phys. soc. Jpn 60, 364 (1991).
[2J K. Kana, S. Nakada Y. Narahara, and Y. Ootuka, J. Phys. soc. Jpn 60,
368 (1991).
/3J K. Kana, S. Nakada, and Y. Narahara, J. Phys. soc. Jpn 61, 173 (1991).
/4J K. Kana and S. Nakada, Phys. Rev. Lett. 69, 1185 (1992).

10

0.1

0.01

0.001

a 0.5 1.0

kd/7r

Figure 1: Transmission spectrum of thinl sound in the Fibonacci lattice.

0.01

0.001 a 2 3 4 5
1
ka/7l'

Figure 2: Transmission spectrum of third sound in the Penrose Jaltice.

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EVOLUTION OF ORIGAMI MODELS

Maekawa Jun
Yatabe building 103 1-7-5 Higashi-izumi Komae city Tokyo Japan
E-mail: ·maekawa@mbdat2.nro.nao.ac.jp

(Or ientat ion

At all times. my greatest interest in origami (paper-folding) is to
create original models. Fold lines analysis. theorems about them.
These are entangled topics on the way to create new
models. This report is one of such rutted roads.

2. Or jgin
Nobody knows who createdtraditional origami models. Traditional
models are results of historical selection over 1000 years. We can
compare it to biological selection. In this analogy. most important
question is expressed as follows. What is selection pressure?
In order to answer this question, I think another analogy between
origami and biology. That is anatomy. We can find "clane series"
as typical case of anatomical "Clane" is representative
traditional model. We have many "clane" based models.
Marrow pattern of "clane" is folded up to flat form under stable
(little stress) state. And. this patternhas sphere phase as a result
that edge of paper is fitted to another edge.
"Clane base" is a member of • clane series" Iike binary system.

Fish base Clane base Flog base Beetle base

(Fig. J) Clane series
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3. Organ
Fundamental region of "clane serIes IS a right-angled isoscales
triangle. We can subdivide this triangle into two type triangles.
These two triangles are elementary units of "clane type origami".

[7
(Fig. 2) Fudamental region of clane series Elementary units

4. Or iginat ion
We can regard "clane type origami" as a conditional tiling work
using the elementary units. I can geL, many models by the tiling
work (Example:Fig.3) These elementary units are 90/4 degree base.
We can ex tend them to 90/3. 90/5. and 90/6 degree based pa t tern.
(Example: 90/6 degree pattern:Fig.4)

CF i g. 3) Dev i I (Fig.4) Mantis

Reffe rences
"Viva 1 Origam( Maekawa Jun 1983 ISBN-387-89116-5
"Top Origami" Kasahara Kunihiko 1985 ISBN-387-85096-5
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AN ORIGIN OF SYMMETRY BREAKING:

IRREVERSIBLE THERMODYNAMICS FROM AN INTERNALIST PERSPECTIVE

Koichiro Matsuno
Department of BioEngineering
Nagaoka Univeristy of Technology
Nagaoka 940-21, Japan
E-mail: kmatsuno@voscc.nagaokaut.ac.jp

Symmetry and its preservation have long been taken as the fundamental ingredients
of any dynamics (Wigner, 1964) . Identification of symmetry presumes the dichoto-
my of the operation of preserving a symmetry property and the state to which such
operation applies. This formulation of dynamics leaves the state to which the
operation of symmetry preservation applies as being a mere passive entity. Dynam-
ics of the quantum mechanical state as embodied in Schroedinger's equation of
motion is just a successful example of showing the separation between the symme-
try preserving dynamic operator and the quantum state to be operated. However,
the present scheme of depriving the quantum state of its dynamic activity raises a
fundamental question on how could the initial quantum state to be acted on subse-
quently be prepared in the first place. This question in fact centers around the
problem of measurement in quantum mechanics. Although it is possible to prede-
termine the value of a quantum mechanical observable if the initial quantum state
happens to be available by whatever means, it is not the symmetry preserving
quantum operator itself which could prepare and determine the initial quantum
state.
Availability of state on a nonlocal scale which is prerequisite to dynamics of the
quantum mechanical State is, however, a theoretical artifact at its best no matter
how successful it has been in countless physical experiments. Initial preparation of
the quantum state does assume an active operation on the of the agency in
charge, or experimenters. State dynamics of preserving a symmetry property could
be permissible only in the limit case that the operation of preparing the initial
state would not interfere with another operation of preserving the symmetry
property latent in the once prepared state. This potential difficulty with any type
of state dynamics preserving its symmetry property would become most keen when
one comes to face with thermodynamics or irreversible thermodynamics in particu-
lar, since in the latter of which the idea of state variables has been questioned.
For instance, whether the idea of entropy as a state variable could firmly be estab-
lished even in irreversible thermodynamics still remains to be seen.
Irreversible thermodynamics unquestionably allows in itself a set of local observa-
bles such as local energy flows, but they cannot be equated with local state varia-
bles in their own right. For the insistence on local state variables and on the re-
sulting state dynamics preserving a certain symmetry would have to claim to be
prepared with the initial state without having any interference with the subsequent
dynamic development. On the other hand, local observables assume measurement
dynamics of their own identification because they are identifiable in the record,
though not accompanied by state dynamics. The measured record of local observa-
bles cannot substitute for the state to be driven by state dynamics, because the
record is already a consequence of dynamics that has made measurement possible.
Irreversible thermodynamics lacking its local state variables still, however, rests
itself upon the process of measurement proceeding internally (Matsuno, 1989).
Internal measurement of local observables is intrinsically irreversible and breaks
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temporal symmetry because it lacks the state to be driven by symmetry preserving

state dynamics. This fact simply implies that there is no means to predetermine
what will be measured beforehand and that there is an apparent asymmetry be-
tween the prior indefiniteness yet to be actualized and the posterior definiteness in
the record. Temporal symmetry breaking latent in Internal measurement will
become more evident in relation to the manner of how conservation laws such as
energy flow continuity could materialize. Although state dynamics asking a com-
plete identification of its local state variables takes conservation laws to be no
more than a form of truism because the identification cannot be separated from
observing these laws, internal measurement comes to fulfill them only a posteriori.
How conservation laws will be "fulfilled remains indefinite for internal measurement
yet to come. Internal measurement as a local process assume only the limited
access to the complete situation on a global scale. Only the record can tell how
these conservation laws have been fulfilled. This leads to the fact that even the
first law of thermodynamics on energy conservation, let alone the second law, is
irreversible in its operation within the scheme of internal measurement.
Internal measurement in irreversible thermodynamics can serve as a generator of
breaking temporal symmetry because of its incompatibility with the state to be
driven by symmetry preserving state dynamics.

References

Matsuno, K., 1989. Protobiology: Physical Basis of Biology. CRC Press, Boca Raton
Florida.
Wigner, E., 1964. Events, laws of nature, and invariance principle. SCience 145,
995-999.
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WALLPAPERS PRECISELY 17: AN EYE·OPENING CONFIRMATION

Pamela K. McCracken and William S. Huff

Department of Architecture, University at Buffalo
Buffalo, New York, 14214, USA

Early geometry was constructive and visual; In time, geometry came to be expressed
by abstract notation. Undoubtedly, the venerable Pythagoras beheld his extraordinary
right triangle theorem rather than formulated it. Subsequent algebraic equations
merely restate what was visually evident. As mainstream geometry increasingly
became the province of the mathematician, graphic geometry, construction without
calculation (in the "Platonic" tradition), became the province of the designer. These
parallel paths can but benefit from interdisciplinary bridges such as the Scientific
American column (1956-S1) of Gardner and The World of Mathematics (1956) of
Newman, whose aim was to ·present mathematics as a tool, a language and a map;
as a work of art and an end in itself."

A classic topic, attracting attention of both mathematician and designer, is that of the
17 infinitely repeating patterns with two independent translations, commonly called
the 17 wallpapers. Various derivations (generally deficient as proofs) routinely utilize
geometric and algebraic formulations, including group theory. In the proliferation
of mathematical and other scientific texts, with redundant iterations of the problem,
certain deficiencies have been perpetuated. The devising of a more visual approach
to this highly visual problem can not only make the wallpaper lore more accessible to
designers, but perhaps provide new Insight into Its rudiments and insinuate a proof.

The 17 wallpapers were included In a basic design curriculum, instituted in 1960

by William Huff; a visual approach to their derivation (and proof)-to facilitate the
instruction of design students-was explored in 1961 with mathematician Richard
Durstine, who proposed a strategy that was not fully developed at the time. In 1990,
Jack Holnbeck and I elected to work on different aspects of the 17 wallpapers as
theses topics. A principal task of mine has been to pick up the threads of the Ourstine
proposal-while Holnbeck has scoured innumerable texts for their treatments of this
persisting theme. As I worked out the Ourstine strategy, a cumbersomely large chart
resulted. In consultation with Denes Nagy (1992), a somewhat different strategy was
devised, based on preliminary work of Nagy's student, S. Prakash (1990). See TABLE.

A basic condition of the 17 wallpapers is that pattern coverage must be achievable

through translation alone, along two different vectors. A second (symmetry defining)
conditionis that there is pattern coverage (pattern invariance), when any operation,
inherent in any patterns, is effected. Prevailing literature implies a third condition: that
upon the operation of any element of symmetry, Inherent in the pattern, the lattice, as
well as pattern, is left invariant. Weyl's Symmetry (1952) gives this impression: "Having
found the 10 possible groups r of rotations and the Lattices L left invariant by each
of them, one has to paste together a r with a corresponding L so as to obtain the full
group of congruent mappings.•. While there are 10 possibilities for r, there are exactly
17 essentially different possibilities for the full group of congruences lJ. [italics mine]."

Lockwood and Macmillan's Geometric Symmetry (1978) is the rare text, in apprising
that it cannot be said that the [lattice] is unchanged by a glide. These authors, in their
cautious, negatory statement, stop short of nailing it down for the outsider. Shubnikov
and Koptsik, writing in Symmetry in Science and Art (1974) about 3-D space groups,
bring to light Fedorov's recognition of symmorphic and nonsymmorphic groups, the
latter, characterized by the presence of glide or screw symmetry. Wallpapers (2·0)
cannot accommodate screw operations (3-D); they can and do incorporate glide.

Failing to pick up on Fedorov, the majority of texts either gloss over the thorny problem
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of the special nature of the glide operations by leaving the Impression that all 17
patterns are achieved without event or they err in stating outright that all operations
of a given pattern effect lattice coverage along with pattern coverage. To fail to instruct
students about how the nonsymmdrphic groups function in the 17 wallpapers is to fail
to Instruct them thoroughly about the analog that crystallographers have used to
explain the 3-D space groups, not easily envisioned In the mind's eye.

A designer's simple device was Concocted for the investigation of the concurrence
of lattice coverage with pattern coverage. With duplicate copies of each pattern,
one opaque, one transparent, any sort of move of the transparency over the opaque
copy, which brings the pattern into coverage, effects a proper operation (translations,
rotations), inherent In the pattern. It Is discerned that both pattern coverage and lattice
coverage occur In all Instances. Improper operations (mirror reflections, glides) are
simulated by flipping the acetate. It is revealed that In four cases involving glide (but
not all) lattice coverage does not concur with pattern coverage. This investigation also
challenges the crystallographer's dubious centered rectangular lattice (Buerger, et al.).

0, 3 mill J<1S S .(oj')
. •.•f:TJ-••.•• ..••.. gt:•.•. .
20,·w..
'.'.' .E1...X\.{?)
"\'V\ ..•... "
t

,@i ·.0.··
L

D. 6ffi •.... }..

illr
JL JL

.::
,
J,
I t
r
•

tj: - -
10

•
L

11

+ -- --
__ __ __ I>

L ... p.
L
L "
03
-- -- --- --
*

---

TABLE: The five lattices undergoing symmorphic and nonsymmorphic operations.

----::
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RY
SOME GEOMETRICAL ATTEMPTS
Quasicrystals, Fractal Tesselation, Ideal Critical Pattern

TohruOgawa
Institute of Applied Physics,
University ofTsukuba.
Ibaraki, 305, Japan.
E-mail: ogawa@bk.tsukuba.ac.jp

Some of geometrical attempts are proposed..The author is originally a theoretician mainly physics
of condensed matters and focuses his interest on geometrical problems since he organized an
interdisciplinary meeting "Morphysics" (morph + physics) in Kyoto in 1980.

1. Quasicrystals. [I], [2], [3]

[A] The author discovered three-dimensional Penrose tiling in 1985. There are two kinds of

O.'s and an being an expanded

°0.,
rhombohedral unit cells, Ao and 0 , An A., beeing an expanded A., is consists of 55 A 's and 34
0/. is consists of34 Ao's and 21 O.'s, so to express as •
A 68 = 55A 6 + 34°6 ,
It is equivalent to
° 6
8
= 34 A 6 + 2106·
(,-IA 8+,-2 0 8) = ,9(,-IA +,-20 )
corresponding to the fact that their relative c8mposition is ,=(1 + VSW2=1.618. The
°.
arrangement of A. and 0. in A: and 8 was discovered and the same procedure can be repeated
as many times as desired. It is noted that the structure and then the procedure has some freedom.
So-called projection model is contained in the present model. The author solved it as a puzzle and
then he knows the feature of the structure very well. While the projection method is so useful that
some users have only liLLIe knowledge about the structure. The ball and stick model of this
structure is exhibited. The procedure can be expressed in another way. Every vertex is
transformed into the centre ofa flower dodecahedron, exactly speaking, which is a 60-hedron with
icosahedral symmetry and consists of20 A.'s.
[B] The concept of graphic geodesic line was introduced by the author and R. Collins to
characterize any two-dimensional network with triangular meshes. All the geodesics were
completely traced in the special case of triangulated Penrose tiling which was obtained by
drawing all the minor diagonals in Penrose tiling of rhombic version. There are five sets of
parallel lines. some circular roops and two hierarchical sets of rather complicated closed geodesics.
This analysis figures out that Penrose tiling has rather strong fluctuations which cancel out in a
small area.
There seems to appear a chaotic behaviour in the corresponding problem of octagonal Penrose
tiling.
[e] Recently, the author found that the allocation scheme of the seats in an election in the
proportional represenLation[4]. Though the time will not be enough to explain it, some copies of
the concerned paper will be brought. It was written for physicists investigating quasicrystals or
generallized crystallography The next publication in more geometrical description is now in
preparation.

2. Fractal tessellation of a plane and a spherical surface. [5],[6]

Koch curve is a typical artificial fractal curve. When Koch curves are arranged in some
symmetrical way, a fractal tessellation ofa plane is obtained. There are five-fold case and six-fold
case. Bya similar way, some fractal tessellation of a spherical surface can be obtained. There are
two cubic cases and an icosahedral case. The concept of similarity was extended in these cases
since there is no similarity on a spherical surface that is not a linear space.
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Peano curve, couerin.g a cubic region, was extended to cover a spherical surface by a single curve as
uniform as possible.

3. Ideal critical pattern [7].

You may regard a critical state as the state at the conceptual border of mixing and segrigating,
though the concept is well defined in Physics. The motivation of this attempt is to combine
intuitive sensibility and logic. The first aim is to realize some finite ideal critical pattern which
can be the representative of the ensemble of all the critical configurations. The pattern should
have both properties of mixing arid segregating. One, finding some defects, tends to fcel
unsatisfactory in the pattern that he felt acceptable before.

l1] T. Ogawa;J. Phys. Soc. Jpn.54, 3205 (1985).

[2] T. Ogawa; Material Science Forum 22-24,187.
[3] T. Ogawa and R. Collins; in Quasicrystals, Eds. T. Fujiwara and '1'. Ogawa,p.14, (1990,
Springer).
(4) T. Ogawa and '1'. Ogawa; in Quasicrystals, Eds. K. H. Kuo and T. Ninomiya, p.394. 0991,
World Scientific).
[5) '1'. Ogawa; in What are fractals? (in Japanese), 0989, Iwanami)
[6] T. Ogawa; Tokei Suuri, (Proceedings of the Institute of Statistical Mathematics, in Japanese)
37,107 (989),
(7) T. Ogawa, M. Himeno and T. Hirata; Forma, 6, 129 (1991).
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FLEXING POLYHEDRA

Caspar Schwabe
Ars Geometrica, AHA Gallery
Spiegelgasse 14, 8001 Zurich, Switzerland

Flexing polyhedra are closed surfaces which are bordered by fixed,

even polygons that can articulate along the edges. Such polyhedra
permit of a deformation. Visualize a closed surface which is
composed of flat pieces of cardboard and held together with
adhesive tape along the edges. If the form of the polyhedron can
change without tearing the tape or bending the cardboard, then we
have a flexing polyhedron. The bellows of a camera, for example,
function only with soft material; hence they are not genuine
flexing polyhedra, being mathematically very impure.
In 1812 the well-known French mathematician Cauchy proved that
convex polyhedra, i.e. those curved outwards, are immobile. In a
generalisation of this principle, it was then postulated that
concave polyhedra, i.e. those curved inwards, are also rigid.
In 1897, however, a Belgian engineer named R. Bricard refuted this
assumption. He discovered mobile octahedra strips, although they
could not be completed as polyhedra because they showed some
overlapping. Nevertheless it was regarded as impossible to
construct a genuine flexing polyhedron.
Only in recent years did R. Connelly with his revolutionary 36-
sided polyhedron, succeed in modifying Bricard's model in such a
way as to produce the world I s first genuine flexing polyhedron.
This polyhedron was later modified by N.H. Kuiper and P. Deligne
to only 18 faces. To top this, in 1977, K. Steffen found his
famous flexing polyhedron with only 14 faces and 9 vertices. All
those flexing polyhedra are based on the model of Bricard and
their mobility is severely limited by parts which impede one
another. The mathematically pure flexing polyhedra discovered so
far have constant capacity. It is therefore generally assumed that
the volume of every possible flexing polyhedron remains constant
during flexure.
Primary examples of flexing polyhedra with a variable capacity
-although these are not mathematically pure examples- are W.
Blaschke's flexing octahedra and M. Goldberg's double pyramid,
resembling Siamese twins. More recent models, such as the diverse
infinitesimal flexing polyhedra of W. Wunderlich and the 16-sided
so called .Quadricorn designed in 1981 by myself, allow rather
more precise, effortless movements. The Quadricorn is the first
practically perfect flexing polyhedron with a mathematically pure
middle position and two flat boundary forms, i.e. its volume can
be reduced to zero. As stated, the movements of all these flexing
polyhedra with a variable capacity are not mathematically pure,
for when they are in motion, tiny deformations hardly measurable
and invisible to the naked eye will occur on the edges and
surfaces. But one day , someone may discover a mathematically pure
flexing polyhedron with a variable volume and thereby disprove the
assumed constancy of capacity -who can tell? .
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Bricard's steffen's Goldberg's

OCTAHEDRON TETRADECAHEDRON SIAMESE TWINS

The QUADRICORN

flat middle flat

position x position position y

One question remains: What sort of shape would a mathematically

pure flexing polyhedron with a variable volume have?
Would it need to be symmetrical, or could it be of asymmetrical
shape, a ring shaped torus or something resembling a so-called
UFO? Might there be a space-filling flexing polyhedra? If so, this
could be a dynamic structure where a single flexing polyhedron
controls and determines the motion of all the adjacent flexing
polyhedra. I firmly believe that any such discovery would have an
enormous impact on physics.
You will find on the pages 213-221 the nets of the four
flexing polyhedra illustrated above.

References:
- R. Connelly: A flexible sphere. Mathematical Intelligencer 3, 130-131 (1978).
- Phancmena 1984. ISBN 3-909290-01-9. Page 81 (1984).
- W. Wunderlich, C. Schwabe: Eine Familie von geschlossenen gleichfUichigen
Polyedern die fast beweglich sind. Elemente der Mathematik. Vol. 41-4 (1986).
- A.K. Math. Unterhaltungen. Spektrum der Wissenschaft. Vol. 3 (1992).
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GROWTH AND SHAPES IN QUASICRYSTALS

An-Pang Tsai and Tsuyoshi Masumoto

Institute for Materials Research, Tohoku University,
Sendai 980, Japan

The discovery of a quasicrystal[l] with icosahedral

symmetry has attracted great interest not only for
physicist or mathematician but also for architect and
artist. study on equilibrium morphology of non-period-
ic system is possible since the discoveries of a series
of stable quasicrystals. A material revealing a atomic
structure with icosahedral symmetry is expected to see a
morphological shape reflecting its atomic structure.
To date, three kinds of morphology with icosahedral
symmetry have been observed in quasicrystalline alloysj
a rhombic triacontahedron for an AI 6 CU 1 Li 3 [2], a pentag-
onal dodecahedron for an Al 65 Cu 20 Fe 5[3] and global
shape for an AI75cu15VIO[4]. The trlacontahedron with
30 diamond faces, 32 vertices and 60 edges in a solidi-
fied AI-Cu-Li alloy, can be constructed by two kinds of
rhombohedronj a prolate and an oblate, corresponding
to the atomic cluster of quasicrystalline AI-Cu-Li
structure. The triacontahedral atomic cluster with a
size of few nm can be grown to the size as large as a
mm order by an inflation operation of the rhombohedral
units. There is a very reasonable relation between the
atomic structure and morphology for this quasicrystal-
line alloy. On the other hand, although the AI-Cu-Fe
alloy reveal a beautiful pentagonal dodecahedron, it is
still unclear that how to grow a mm sized pentagonal
dodecahedron from its atomic cluster. The atomic
structures of the AI-Cu-Li and the AI-Cu-Fe quasicrys-
talline alloy are described by three dimensional Penrose
tiling constructed by two kinds of rhombohedral unit
with different atomic decoration which build up differ-
ent fundamental atomic clusterj a triacontahedron for
the former and a Mackay icosahedron for the latter.
The quasicrystalline AI-Cu-V alloy seems to be described
by the icosahedral glass model. The icosahedral glass
model relies on local interaction to join clusters of
atoms in a somewhat random way. In this model, all the
clusters have the same orientation, but because of
random growth the structure contains many defects. The
icosahedral glass model is sui table for quasicrystal-
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171

line Al-Cu-V in two ways. First, it removes the neces-

si ty of arcane matching rules and gives a plausible
explanation the growth of quasicrystal from the amor-
phous pha!?e. Second, the disorder introduced through
randomness closely mimics that evidence"d by peak boar-
dening of the diffraction peaks in AI-Cu-V quasicrys-
tals. Ingrowth process, it reveals a global shape
without significant facet.
In view of the growth condition we note that quasi-
crystal could be formed from melt, amorphous and crys-
talline, respectively reveal outlooks of pentagonal
dodecahedron, star polyhedron and global shape. The
shape is very sensitive to the environmental factors
such as temperature and composition fluctuation of the
parent phase. We shall discuss the facets of quasi-
crystal by taking the structural model and the growth
conditions into account.

References
[lJ D.Shecthamn, I.Blech, D.Gratias and J . W. Cahn ,
Phys.Rev.Lett. 53,1951(1984).

[2J P.Saindort, P.Dubost & A.Dubus, A.C.r.hebd.

Seanc.Acad.Sci.Ser.II, Paris 301,689(1985).
[3J A.P. Tsai, A.Inoue and T.Masumoto, Jpn.J.Appl.Phys,
26,1505 (1987) .
[4J A.P. Tsai, A.Inoue, Y.Bizen and T. Masumoto, Acta.
Metall. 37,1443(1989).
[5J D.Shechtman and I. Blech, Metall.Trans.A16, 1005
(1985) .

[6J P.W.Stephens and A.I.Goldman, Phys.Rev.Lett.56,1168

(1986) .
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An-Pang Tsai ... ... and a big quasicl)'stal.
Pboto: Ya.u.bi K.1jik.wa Pboto: ¥,"uabi Kajibwa

Jun Maekawa with one of his 'creatures'. Toshikazu Kawasaki with some of his
origami works.
Pboto: Y..usbi K.,jik:lW' Pboto: ¥lIIuabi K.1jikawa
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SYMMETRY OF PATTERNS 173

Gyorgy Darvas, Kodi Husimi,
Denes Nagy, and Tohru Ogawa
(from left to right).
Husimi-sensei just asked Gyorgy about
the Hungarian mathematical competi-
tions. He is interested in everything.
Pboto: Yasusbi Kojikawa
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Kodi Husimi's inaugural lecture.
Next to him Denes Nagy, while
Buckminster Fuller is keeping watch
on them from a backside picture.
Photo: Ca.par Schwabe

Kodi Husimi with Caspar Schwabe. Hiroshi Tomura, Kodi Husimi, and
Photo: Caspar Schwab..:
Tohru Ogawa (from left to right).
Phow: Caspar Scbwabe
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HIROSHIMA. AUGUST 17-23. 1992

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Peter Klein is all smiles with Hiroshi Tomura, alias'Tom' (left)
Katalin FiUler (Iert) and Biruta Kresling and Tony Robbin (right):
(center) at the reception. Obviously it is a Topology (or even 'tomology')
forum of education, musicology, and four dimensions
origami - and some food. Photo: Yasushi Kajik.-.wa
Photo: Yasushi

Ted Goranson, John Gibbon, and Tohru Ogawa, Tony Robbin,

Nagy, and Biruta Kresling in the
Richard Parker (from left to right).
Photo: Yasushi K.,jibwa exhibition hall.
Photo: Caspar Sc:bwobe
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SYMMETRY OF PATTERNS 175

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A group of symposium participants at a
workshop, framed by the models of
Yasushi Kaiikawa.
Pboto: y.,usbi Kajibwa

Humiaki Huzita, Caspar Schwabe,

Hiroshi Tomura, and William Huff
in Yasushi Kajikawa's workshop
in the SynergetiC5 Institute.
Pboto: Caspar Schwabe
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John Gibbon

... between Jun Maekawa (left) and ... with Daniel Huson.
Vojtech KoPSkY (right), plus John's
'simplest' polyhedra.
Pboto: Y.susbi Kajit.,W3 Pboto: Yasusbi Kajikaw.

Daniel Huson,
... and 'with some of his models. in an E-shirt (Escher Shirt), rotates
Gibbon's polyhedron; or the polyhedron
Pboto: Yasusbi Kajitaw:l
rotates Daniel.
Photo: Yasusbi Kajikawa
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SYMMETRY OF PATTERNS 177

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Tony Robbin in action
Yasushi Kajikawa in the focus. in a workshop.
Pboto: Y3Iusbi Kajibwa Pboto: y ••uabi Kajil<.1Wll

Katalin Fittler provides musical

symmetries, while the floor is covered by
John Gibbon's polyhedral symmetries.
(N.B. Kepler connected these two topics.)
Pboto: Y.....bi Kajiltawa
Katalin Fitt!er and William Huff listening
attentively to GyOrgy Darvas.
Photo: Denes N.&)'
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HIROSHIMA, AUGUST 17-23, 1992

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Humiaki I-luzita between Tamara and Yasushi I<:ljikawa.
Pboto: Caspar ScIrMlbe

Kirti Trivedi and Yasushi Kajikawa. Kirti Trivedi accompanied by

Clritra-kavya (picture-poetry).
Photo: Yasusb; Kajik.","
Pboto: Yasusbi Kaji'<aW&
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Symmetry: Culture and Science
VoL 3, No. 2, 1992, 179-186

SYMMETRIC GALLERY

Second Interdisciplinary Symmetry Symposium and Exhibition

SYMMETRY OF PATTERNS

August 17-23, 1992

Synergetics Institute, Hiroshima, Japan
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180 SYMMETRIC GALLERY

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QuasicrystaIs

An-Pang Tui: A fIVe-fold diffraction An-Pang Tui: Morphological shape ot"

pattern of A16SCuZoF'elS quasiCljStal. pentagonal dodecahedron in
A16SCuZOFelS quasicrystal.
Photo: An-Pang Taai Photo: An-Pang Toai

Tohru Ogawa's quasiaystal models.

Photo: Yaouobi Kajiltawa
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Origami festival

Jun Maekawa's folded pets.

Photo: Yasusbi Kajikawo

From nature to origami:

Toshikazu Kawasaki's composition.
Some items by Hiruta Keesling.
Photo: Kajitawa Photo: Yasuahi Kajit.1,""
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182 SYMMETRIC GALLERY

AIda d'Angelo

Imaginary fish. Imaginary crab.

Soapbubblesjframes.
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SYMMETRY OF PATTERNS 183

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AIda d'Angelo

Monroe's original image

Monroe's s'ymmctrical image processed

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SYMMETRIC GALLERY

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Hiroshi Tomura's exhibition.
Photo: Ya.'ushi Kajikawa

'Square-it', a new puzzle co-invented by

Vojtech KoPSkY'
Photo: Yasushi Kajibwa
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SYMMETRYOF PATTERNS 185

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Tiling

Daniel Huson's exhibition, together with AHA, it is by Caspar Schwabe:

Olaf Delgado and Andreas Dress. Magnetic version of Penrose-tiling with
Ammann-line.
Pboto: y ..usbi Kajikawa Pboto: Yasusbi Kajikawa

John Rigby's symmetric tilings.

Pboto: Yasusbi Kajik._·
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186 SYMMETRIC GALLERY

Per HUttner

Sketch for Japanese Graffiti, 1992, Sketch for Japanese Graffiti, 1992,
62x45 cm, graphite on paper. 62x45 grdphite on paper.

Sketch for Japanese Graffiti, 1992, From the "Neuro Biological Series", 1992,
62x45 cm, graphite on paper. 62x45 cm, mixed media and human blood on paper.
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Synvnetty: CulJwe and Science
VoL 3, No. 2, 1992, 187-200

SYMMETRY: CULTURE & SCIENCE

SYMMETRY AND IRREVERSIBILITY IN THE

MUSICAL LANGUAGE(S) OF THE
lWENTIETH CENTURY
Siglind Bruhn

Music analyst, concert pianist, (b. Hamburg, Germany, 1951).

Address: Director of Studies, Music School for Professional and
Continuing Education, The University of Hong Kong, Shun Talc
Centre, Sheung Wan, G.P.O. Box 3783, Hong Kong.
Fields of interest: Twentieth century musical languages, performance
practice in 18th century music, linguistics and literature of
Romance and Chinese languages.
Publications: Die musicalische DantelJung psycholorjschu
WlricJkhkeil in Alban BeT&f Bern: Peter Lang Verlag,
1986, 450 pp.; Arnold Schoenberg's Wind Quintett - analysis of the
third movement, Austrian Joumal for Music Analysis, 1987; Helmut
Eder's Violin Concerto, In: Scholz, G. (ed.), Austrian Dodeka-
phonics after World War 2, 1988; The Socratic approach to teaching
music, In: Music Education: Facing the Future, Proceedings of the 19th World Conference of the
International Society for Music Education, 1990; How to Play Bach's Little Piano Pkces, Penerbit
Muzikal Malaysia, 1990, 87 pp.

Much more than their nineteenth-century precursors, composers of our times seem to
strive for order, in the sense ofconscious and deliberate organization. This is not to say
that order substitutes beauty or emotion. But while it seemed acceptable in earlier times
to create new facets of beauty and unheard-of depths of feeling within structural
patterns as conventional as the ternary form and its many derivatives, there is a striking
- and increasing - need in our century to establish order on levels and in parameters
unique to our age.
Arguably the most significant concept in this pursuit is the concept of symmetry.
Apparently opposed to it, or at the very least in stark conflict with it, there is the concept
of irreversible progression. Both are, as a large body of research into the fields,
particularly that of symmetry, shows, omnipresent in nature. Symmetry occurs in
relation with space. It is the single strongest building principle in the physical realm -
be it. the lateral symmetry of man and most other creatures or the more complex
symmetry in crystals, minerals and many other chemiJ:al elements, in the course of
atoms and the orbit of stars. On the man-made side of the physical realm, symmetry
reigns supreme in architecture, geometry and ornamental art, to name just a few.
I"eversible progre.sses, by contrast, are connected with time. From the development of
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an individual life to world history, from the appearance and subsequent decay of
mountains and flowers, cultures and ideas to the evolution of species and the
expansion ofthe universe, there appears the same vectorialone-directedness.
This paper aims to investigate some of the basic aspects under which symmetry
manifests itself in twentieth-century music. Examples are taken from three
compositions for piano solo written around the middle of our century,. by composers
coming from the Gennan-speaking (and -thinking) tradition: Anton Webem's
Variations op. 27 (1935/6), Paul Hindemith's Ludus Tonalis (1942), and Wolfgang
Fortner's Sieben Elegien (1950).

CHAPTERl
To argue for symmetry in Hindemith's Ludus Tonalis (1943/1968) seems, at face
value, almost trivial. The cycle consists of twelve fugues - one on each of the
semitones - linked by interludes and wrapped by a prelude at the beginning and a
postlude at the end. If this were all there is, it would hardly be worth mentioning.
The fact, however, that the postlude is a visual retrograde inversion of the prelude
- one in which the score of the prelude can literally be turned upside down and
read backwards - should alert musicians; there is bound to be more to it.
As it turns out, Hindemith has conceived the twelve fugues and the eleven inter-
ludes in such a way that they form a strikingly symmetrical cosmos (this despite the
fact that the obvious purpose of each interlude is modulation, the transition from
the key of the preceding fugue to that of the subsequent one: a clearly linear
process). Let me explain a few details on a transparency (Fig. 1).
The interlude which forms the centre of the cycle, connecting Fugue 6 with Fugue
7, is a March. With its strong sense of tonality and slightly rambunctious mood it
represents a character of its own which is not repeated in any other part of the
cycle.
The fifth and seventh interludes, those before and after the March, can both be
identified as Romantic piano miniatures - romantic in their aesthetics, not, of
course, with regard to the tonal language employed. One of them, with intensely
emotional treble lines and elegant accompaniment patterns, seems reminiscent of
Chopin's style, while the other, in thicker homophonic texture and a heavier, in
some instances brooding character, recalls Brahms' expressive language.
The fourth and eighths interludes recall Baroque patterns; one is composed in a
style similar to that found in many of Bach's preludes, the other appears as a
toccata. The third and second-from-Iast interludes - note the dissymmetry! - are
conceived as folk dances. While their melodic and rhythmic idioms are basically
timeless, their metric organization links them to two welI-known dance forms
known from early music: the gavotte and the courante. Complementing the
dissymmetry, the second and third-from-Iast interludes both represent pastorales:
melodies reminiscent of a solo flute or recorder, floating in languid mood above a
simple accompaniment-I. Finally, the first and the last interludes are held once
more in the style of Romantic piano pieces. The former is an improvisation which,
although written in triple time throughout, is so fulI of intricate metric shifts that it
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SYMMETRY IN TWENTIETH CENTURYMUSIC 189

appears much more 'impromptu' than any of the nineteenth.century pieces

formally carrying that name; the latter is an elegant waltz.

Jt
l'raeludlum

r--- triple fugue

I d·ance I n fi ve-elg
. ht Romantic ImprOVisationj

If
-" "3"'
double fugue
pastorale

folk dance (gavotte)

Baroque prelude
-glgue
Romantic miniature ]
(Chopin style)
March
Romantic miniature
1 - - - - dance in five-four (Brahms style)

C
Baroque toccata
Subiect trans-
formation fugue pastorale
l---:,- Inv rslon fugue

U accompanied canon
folk dance (courante) ]

J
L- stretto fugue
Romantic waltz

Postlucllum

Figure 1

The fugues, too, profess a strikingly symmetrical layout, with possibly the only
exception in the centre of the cycle. Fugue 3 and Fugue 10, in actual playing time
almost equidistant between the prelude and the postlude, each reflect one of the
compositional principles governing the framing pieces: in Fugue 3, the second half
retraces the first half in retrograde; in Fugue 10, the second half is the exact
inversion of the first.
Next, there are four symmetrically located fugues - the first and the last as well as
the fourth and the fourth-from-Iast (i.e. Fugue 9) - which build on strict
contrapuntal technique. At the beginning of the cycle there are a triple fugue
(Fugue 1) and a double fugue (Fugue 4); towards the end, the subject appears in
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almost constant stretto in Fugue 12, and developed section by section through all
possible transformations in Fugue 9.
The remaining four fugues, while certainly true fugues in both texture and
structural layout, actually represent character pieces. There is a dance in five-eight
time (Fugue 2), a dance in the rhythmic pattern of a gigue (Fugue 5), a dance-like
form building on a subject in five-four organization, and a two-part canon
supported by a very metric bass accompaniment.

"gradually lessening relationship to the centre"

Flgure2

CHAPTER 2
The opposing concept, that of irreversible progression, proves to be equally present
in the Ludus Tonalis. Although the fact that Hindemith writes twelve fugues on the
twelve semitones of the scale has earned his work the nick-name of the 'Well-
Tempered Clavier of the Twentieth Century', his tonal organization is by no means
that of Bach who, as we all know, progresses chromatically: on each semitone one
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SYMMETRY IN TWENTIETH CENTURY MUSIC 191

prelude & fugue in the major and one in the minor mode. Nor does Hindemith
follow the tonal layout employed e.g. by Chopin in his twenty-four who
proceeds through the circle of fifths, pairing each major-mode piece with one in the
relative minor key. These two types of tonal organization are of the symmetrical
kind insofar as the distance between all major-mode pieces on the one hand, all
minor-key works on the other hand is equal, and the initial work in C major would
in fact constitute a logical continuation of the final work in each collection.
Not so in the Ludus Tonalis. While Hindemith, like Bach, Chopin and many others
before him, begins in C, he interprets this C as the tonal centre of the cycle from
which is triggered.a progression of tonal areas in an order of gradually lessening
relationship. G, the fifth above C, is most closely related, followed by F, the fifth
below the centre. Slightly weaker in their relationship to the centre are those tonal
areas which draw their relationship to C from presumed triads with shared notes:
A, as the keynote of the relative of C major, 15 thus more closely related to the
centre than E (which, as E minor, also shares two notes with the C major triad); Eb,
as root of the relative of C minor, follows next in line, preceding Ab (which, in the
form of the Ab major triad, also shares two notes with the C minor chord). More
remote but still related to the centre are D (two fifths above C) and Bb (two fifths
below C). No relationship of natural frequencies but only spatial proximity links
the semitones above (Db) and below (Bt) to the central C. Finally, the irreversible
progression away from the centre is concluded with the interval that was regarded
as offensive through much of music history: the tritone (F#). The tonal
organization of the fugues in the Ludus Tonalis thus resembles an open spiral (Fig.
2).

CHAPTER 3
Wolfgang Fortner's Sieben Elegien (Seven Elegies) date from 1950, a period during
which the composer is known to have worked towards his own approach to twelve-
tone music. All seven pieces are built on a single dodecaphonic row, and
musicologists compare the cycle to Schoenberg's famous Suite 0p. 25. While such a
relationship with the exemplary work of the great master of the Second Vienna
School may sound fascinating to students of musicology, we must realistically admit
that it is not likely to inspire confidence in musicians; Schoenberg's cycle is
notoriously difficult for fingers, ear and mind. Equally, the information that the
work is strictly serial in its pitch organization will frighten rather than attract most
prospective performers - not to speak of their potential audiences.
While the factual information about Fortner's Elegies can thus be expected to
cause a shrinking from the work, rather than an interested curiosity towards it,
investigations into the use of symmetry in this work can be shown to contribute
essentially to an adequate understanding of the tonal vocabulary and grammar. Let
me demonstrate this with the help of the first of the Seven Elegies.
The elegy is short (44 bars), metrically regular (four-four time throughout), and
fairly easy to overlook in its structural layout. A four-bar 'main theme', introduced
with a one-bar anticipation of its accompaniment pattern, leads into two short
developmental phrases before it recurs in variation. A contrasting secondary
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theme, consisting of a four-bar phrase and its sequence in inverted hands, is

followed by a transposition of the main-theme variation. After a very melodious
closing theme in monodic texture, the elegy is rounded off by a four-bar coda. All
thematic material is easy to recognize, containing none of Schoenberg's often
highly complicated rhythmic modification. The texture is organized in such a way
that all passages allow to clearly distinguish leading voices from secondary lines. So
far for the general, quite encouraging details.
Assistance with the musical language can be provided by a number of observations
for which the following may serve as an example (Fig. 3).

SEVEN ELEGIES, NO. I
MaIn theme
... I h I

- T"""--'
I I ->- hi L-+o--
:

to' V I : : to'

-r minor" 'G maJor ·f minor

primary 'keys' on polar axis 0 - f.

contrast on 'subdomlnant' axis G - b

Figure 3

l.a

In the first, second and fourth bars of the main Fortner uses the first half of
his twelve-tone row (the pitches C Bb F Ab Db B ) to create an accompaniment.
Due to the particular interval structure, the first four notes of the row are heard as
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SYMMETRY IN TWENTIETH CENWRYMUSIC 193

0 7 - T of F minor. The remaining two pitches appear, particularly in the position

where the composer places them, as a two-fold leading-note to the dominant (Db JJI
being semitones above and below C). The left-hand part would thus sound a fairly
tonal F minor. In the thematic right-hand part, the second half of the twelve-tone
row is employed to create the impression of D major, with the scale segment
DE F# G A only coloured by an additional - yet spatially detached - &.

l.b
The third bar of the main theme provides a contrast with regard to both the
melodic components of the right-hand part and the tonal organization. The left-
hand pattern, recognizably related to that of the surrounding bars, evokes G major
(with P and G# as double leading-note to the root of the triad), while the right-
hand part, particularly towards the end of the bar, tonally refers to Bb minor.

I.e
As the graph below the score excerpt shows, the keys paired in each of these two
bitonal combinations represent the opposite poles of an axis through the circle of
fifths. The main axis 0 majorlF minor is interpolated in the third bar by a second
axis G major/B b minor. As the keys in the second pair embody the subdominant of
the corresponding keys in the main pair (G = IVID, bb = iv/f), the main theme of
Fortner's First Elegy can be interpreted as a 20th century equivalent of the I-IV-I
pIagal progression.

2.a
The main-theme variation (Fig. 4) is drawn from the original by way of several
inversions. The most obvious are the inversion of hands and the mirroring of the
pitch lines. Other inversions require closer inspection: the melodic part of the first,
second and fourth bars sounds now in minor mode while its accompaniment is in
major, and the 'V 7 - i' impression is here created in the contrasting third bar (not,
as before, in bars 1,2, and 4).

2.b
These inversions result in an interesting modification of the tonal relationships: the
combination of the two polar k?-pairs Bb major/C# minor and G major/B b minor
creates a perfect axis symmetry· . The same holds true for the transposition of the
main-theme variation, the keys of which are given in the graph at the bottom right
corner of the transparency.

2.c
The tonal relationship between the main theme and its variation is rooted in the
'subdominanf: both share the secondary axis G major/B b minor. Having observed
this, it may hardly come as a surprise that Fortner conceives the transposition of
the main-theme variation as a further step in the subdominant progression (see e.g.
main tonal axis Eb majorlF# minor = subdominant of Bbmajor/C# minor, etc.).
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SEVEN ElEGIES, NO. I

variation
(bars 13-16)

transposition
of variation
(bars 26-29)

- mirror of
original
(bars 2-5)

Inversion of
motives
+ Inversion of
hands
results In modi-
fied tonal
relationships

variation: transposition:
main tonal axis _ B' - ell main tonal axis - E' - fit
contrast axis - G - b' contrast axis - C - e'

r<;lationshlp between primary-key axis and contrast axis:
subdommant progression from the variation to Its transposition

Figure 4

3
Many more details could be mentioned. May it suffice here to add the following
brief remarks regarding the remainder of the piece.

3.8
The secondary theme and its sequence, the two phrases in the closing theme, and
the two segments within the coda, although each entirely different from the main
theme in material, structure, texture etc., are equally each built on one polar axis.

3.b
Secondary theme, closing theme and coda share one axis (F major/G# minor) which
represents a further step in the subdominant progression (compare this axis with
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SYMMETRY IN TWENTIETH CEN1VRYMUSIC 195

the secondary axis C majorlEb minor in the transposition of the main-theme

variation).

3.e

Finally, the two axes of the coda complement the continuous subdominant
progression with a plagal close (IV-I).
Thus, while the very idea of axis tonalities provides a perfect example for the use of
symmetry as a building principle, the various elements and their bi-tonal frames are
clearly organized along a single progressive line.

CHAPTER 4
While the two preceding examples have shown the use of symmetry once in the
field of musical structure (Hindemith) and once in that of 'musical grammar'
(Fortner), Anton Webern's Variations 0p. 27 contribute several new aspects to the
same concept. I wish to comment on the short piece op. 27/11 which represents a
particularly intriguing example for symmetry in 'musical vocabulary'. Moreover,
this piece demonstrates that without an understanding for the tonal vocabulary,
neither phrasing nor emotional content are truly accessibleo 3• Here is a simplified
'dictionary' listing the musical vocabulary employed in this piece (Fig. 5).
The tonal material of this piece consists exclusively of note-pairs. A note repetition
on the tuning-fork A serves as a mirror in which are reflected the six intervals from
the semitone to the tritone. The note-pairs, however, do not appear in this simple
format of closed-position intervals. Webern adds extra flavour (and considerable
technical difficulty) to these simple note-pairs by the devices of octave
displacement and inversion. He uses only two intervals in their closed position
(minor third and tritone), one interval in simple inversion (major third becoming
minor sixth), one interval in simple octave displacement (increasing the semitone
to a minor ninth), and two intervals inverted and displaced (whole-tone and perfect
fourth sounding as compound minor seventh and compound fifth respectively).
This is all there is in musical 'syllables'; any nuances stem from either
'pronunciation' or emphasis (Le. articulation or dynamics).
Deciphering this tonal vocabulary in its symmetrical location around the central A
may already have a merit of its own. It would, however, be a task half solved to
abandon endeavors at this point, before decoding the 'grammar' as well as the
emotional content employed by Webern through and with these musical syllables.
In the absence of melodic or rhythmic features, with no structural clues other
indicating the repeat of the two halves, the internal layout of this piece appears
almost impossible to disclose. Only through an understanding of the syntactical
function of the 'syllables' will the phrase structure become transparent.
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196 s. BRUHN

AmON VAmA1I1ION§ Ofo 7L7! lill 9

TONAL MATERIAL

• tonal centre: A

semitone

above/below A
whole tone
minor 3
•••major 3 fourth tritone

1'-...1

lU /
"

semitone minor 7 minor 3 minor 6 fifth tritone

+ octave + octave + octave
above/below A

STRUCTURAL USAGE OF PITCH PAIRS

- opens
phrases

closes phrases
and subphrases
FigureS
re-opens
a phrase

The piece opens with Bb_G#, the note-pair composed of the semitones above and
below the central A The fact that the same Bb_G# also opens the second half of the
piece encourages the hypothesis that this pair might serve an initiating function.
This is confirmed by the consistent syntactical usage of another 'syllable'. The note-
pair concluding the final complete sentence of the piece, D-E, can be found to
precede all but one of the assumed phrase-beginning pairs (the exception being the
phrase ending before the repeat sign). This observation invites the conjecture of a
fixed closing particle. Interestingly, the fact that this phrase-closing pair is based on
the perfect fifth interval above and below the central note is strikingly reminiscent
of the use of subdominant and dominant in traditional closing formulas.
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SYMMETRY IN TWENTIETH CENWRYMUSIC 197

rHRASE STRUCTURE

aborted opening

" VI}
Figure 6

Understanding the syntactical function of these two note-pairs enables the

interpreter to distinguish five complete phrases in Webern's op. 27/11 (Fig. 6). One
step further on in the analysis it can be discovered that phrases 1, 2 and 4 are
divided into 'main clause' and 'subordinate clause'. This must be concluded from
the fact that the composer uses the closing note-pair occasionally in the middle of a
sentence, and that in all cases, this 'half-close' is followed by the same note-pair
C-F#. This syllable C-F# can thus be identified as opening subphrases.
One peculiarity in the structure of this piece is worth mentioning, particularly since
it seems to stress the aspect of progression vs. that of symmetry, and in a very
unique way. The only moments in the course of the compOSition which, at first
glance, would seem to require no interpretation with respect to their structural
relevance, the note-pairs before the repeat of the first half and at the very end of
the piece, actually both present significant exceptions from the otherwise orderly
phrase structure. The final phrase of the first section ends with C-F#, the note-pair
which, in the two preceding phrases, opens the subordinate clauses. Even more
drastically are the final notes of the piece. Separated from the fifth phrase by a
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198 S. BRUHN

striking four-beat rest, the composition ends with the 'opening' note-pair Bb-G#.
Both halves thus break off with grammatically incomplete sentences - thus
pointing towards a 'progression' beyond the notes?

CHAPTERS
Perceptions such as the one regarding what I call the 'aborted openings' are of
course of supreme importance for the performer and, indirectly, for the listener.
This brings me to the emotional content of the piece. (Fig. 7) Webern takes
greatest care in determining the colour and intensity of each of his musical
syllables, combining the seven symmetrical pitch-pairs with five kinds of
articulation (legato, staccato, legatissimo, staccato preceded by acciaccaturas,
marcato) and three degrees of loudness (p, f, ff). Furthermore, he creates agogic
tension by means of rhythmic contraction (omitting the rest in his basic quaver
pattern of note/note/rest). The use of these parameters allows the following
observations:
The note-pair A-A is the only one to retain its colour and intensity (staccato/p) in
each recurrence. Already low in tension due to its position at the axis of the
symmetrical system and to its note repetition, the consistent colouring specifies the
expressive function of this note-pair as relaxed or introverted. At the other end of
the spectrum, marcato oecurs exclusively in superimposed note-pairs (i.e. chords),
in either / or If. These combinations must thus be identified as extroverted. Both
'introverted' and 'extroverted' pairs are introduced in phrase 1.
Phrase 2 begins with the agogic enhancement mentioned above. The omitted rest
between two note-pairs creates tension not through quantity of loudness and notes
as in the 'extroverted' marcato chords, but through intensification on the plane of
time. The assumption that this 'two-syllable word' constitutes a distinct item in the
vocabulary of this work is confirmed by the fact that its recurrences, towards the
end of phrases 3 and 4, also combine chromatically adjacent pitch-pairs in the
articulation legato/staccato and the dynamic setting//p.
As a development of this 'two-syllable' feature there appears, right after the
opening of phrase 4, the rhythmic contraction of two identical pairs in the form of a
horizontal symmetry (B-G/G-B). Highest intensification is achieved where, in
phrases 4 and 5, all enhancing features coincide. The 'extroverted' marcato!ff
chords are mirrored in rhythmic contraction by one of the note-pairs.
As a conclusion, it is intriguing to observe how the understanding of Webern's
musical language on the basis of his use of symmetry as a building principle can
even help interpreters determine the emotional content and the grades of intensity
in the composition. This is particularly important since Webern's repeated use of
only three dynamic degrees might otherwise give the erroneous impression of a
music static in terms of its expression.
- Phrase 1 contains both the 'introverted' and the 'extroverted' pairs, one in each
of its subphrases. It is thus balanced in its expressive content.
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SYMMETRY IN TWENTIETH CEN1VRYMUSIC 199

DYNAMICS AND ARTICULATION

Phrase t

legato legatlss. acdacc.

.r f p stacc.•

ip
I
Irr',

'".
\ji;;tJ't1
acdacc. ac.dacc.
IT stacc. f p stacc..

acdacc.
.tr stacc.

legato
.r

FIgure 7

- Phrase 2 by contrast does not feature either of these special pairs. The dramatic
tension of its first subphrase, stemming from the rhythmic contraction at the outset
and the first use off!, abates in the subordinate clause.
- Phrase 3 presents, at its very beginning, an immediate contrast of the extroverted
with the introverted pair. This is followed by the intensifying feature of rhythmic
contraction. The open phrase-ending (see the absence of the 'closing' pair D-E)
gives this highly-strung phrase a strong quality of restlessness.
- Phrase 4 is not only the longest but also clearly the most dramatic, containing all
of the emotionally designated features. In its first subphrase the opening pair,
followed by the rhythmically contracted mirror and the 'introverted' pair leads
through the 'subphrase-opener' directly into the first multi-feature climax. The
shorter second subphrase incorporates the 'secondary opener' into another
rhythmic contraction which is then rounded off with the closing pair.
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200 S.BRUHN

- Phrase 5 sets out with a combination of the pairs identified as primary and
secondary phrase-opener (Bb-G- with C-F). Tension is suspended in the
subsequent introverted pair but then bursts out into the second climax of the piece.
By comparison with the preceding phrase 4 which contains the other main climax,
phrase 5 is conceived as more concise.

CHAPTER 6
It has been attempted to show, in a few examples out of what could be many more,
how a mode of expression relying as vitally on the course of time as music does, can
nevertheless be open to symmetric organization. To be sure, we are not expecting
audiences to become intellectually aware of a symmetry - no more than we expect
them to grasp the details of a modulation in nineteenth-century music, or to
understand the poetic depth of the lyrics in a song recital. But we can - and should
- request performers to thoroughly understand whatever language they are
reciting.
The fact that none of these symmetries are likely to be perceived as such by all
addressees (i.e. music listeners) and most mediators (i.e. performers) should not
discourage anybody, as the same holds true for such intricately beautiful
symmetries as those photographed in snowflakes. The futility of the art work
obviously does nothing to prevent nature from repeating it in ever new designs.

REMARKS
·1 I owe thanks to Prot Nagy, president of the International Society for the Interdisciplinary
Study of Symmetry, who pointed out to me the importance of a dissymmetric element in every
basically symmetric organism. I intend to investigate further whether or in which respect his statement
that such dissymmetry often constitutes the life force of an organism (see the heart in its off-centre
location) applies in music.

·2 Although the axis system manifest in Fortner's piece is not identical with that used e.g. by Bart6k, my
understanding of these tonal relationships is greatly indebted to Ern6 Lendvai's study of tonality
(1979).

·3 To appreciate what is at stake: this is an extremely fast piece of about half-minute duration, employing
exclusively one rhythmic value (the quaver or eight note), and featuring pitches distributed without
any melodic connection over four octaves. Played by an uncomprehending performer, it is most likely
to sound like a madam's nightmare.

REFERENCES
Hindemith, P. (1943/1968) Ludus Tonalis, London: Schott, ED 3964.
Fortner, W. (1950/1979) Sieben Elegien, Mainz: Schott, ED 4191.
Lendvai, E. (1979) Ban6k and Kodd/y, Budapest: Institute for Culture.
Webern, A (1937/1965) Variationen fUr Klavierop. 27, Wien: Universal Edition Nr. 10881.
 ©
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Symmetry: Culture and Science
VoL 3, No. 2, 1992, 201-209

SYMMETRY: SCIENCE & CULTURE

REDUCTION AS SYMMETRY
Joe Rosen

Physicist, (b. Kiev, Ukraine, 1937).

Address: Department of Physics, The Catholic University of Amer-
ica, Washington DC 20064, USA, E-mail: rosen@cua.edu, on leave
from School of Physics and Astronomy, Raymond and Beverly
Sadder Faculty of Exact Sciences, Tel-Aviv University, 69978 Tel-
Aviv, Israel.
Fields of interest: Foundations of physics, cosmology, time, symme-
try in physics and science, music.
Awards: Outstanding teacher award, Tel-Aviv University, Faculty of
Exact Sciences, 1974; 2nd prize for original composition for youth
band, Yad Hanadiv Foundation, Jerusalem, 1986.
Publications: Symmetry Discovered: Concepts and Applications in
Nature and Science, Cambridge: Cambridge University Press, 1975,
xi + 138 pp.; Resource Letter SP-2 (ed.): Symmetry and group theory in physics, American Journal of
Physics, 49 (1981), 304-319; Reprinted in: Rosen, J., ed. Symmetry in Physics, College Park MD: Ameri-
can Association of Physics Teachers, 1982, 153 pp., 1-16; Also reprinted in: AAPTResource Letters, Book
Four, College Park MD: American Association of Physics Teachers, 1983; A Symmetry Primer for Scien-
tists, New York: Wiley, 1983, xiv + 192 pp.; Fundamental manifestations of symmetry in physics, Foun-
dations ofPhysics, 20 (1991), 283-307.

Science operates by reduction, whereby we separate nature into simpler parts that we
attempt to understand individually under the assumption that the whole is understand-
able as the sum of its parts. Reduction implies symmetry, according to the conceptual
formulation ofsymmetry as immunity to a possible change. That is so because, if a part
of nature can be understood individually, then it exhibits order and law regardless of
what is going on in the rest of nature, which is immunity (of aspects of that part of
nature) to possible changes (in the rest of nature). Three ways science commonly
reduces nature - observer and observed, quasi-isolated system and surroundings, and
initial state and law ofevolution - are considered and the symmetry implied by each is
examined.

1. REDUCTION
For the purpose of our discussion we take nature to mean the material universe with
which we can, or can conceivably, interact. The material universe is everything hav-
ing a purely material character. To interact with something is to act upon it and be
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202 l ROSEN

acted upon by it. That implies the possibility of performing observations and mea-
surements on it and of receiving data from it, which is what we are actually inter-
ested in. To be able conceivably to interact means that, although we might not be
able to interact at present, interaction is not precluded by any principle known to
us and is considered attainable through further technological research and devel-
opment. Thus nature, as the material universe with which we can, or can conceiv-
ably, interact, is everything of purely material character that we can, or can conceiv-
ably, observe and measure.
That is my own conception of nature. If your conception is different from mine,
please set it aside for the time being, as the following discussion is based on the
definition of nature just presented.
We live in nature, observe it, and are intrigued. We try to understand nature in
order both to improve our lives by better satisfying our material needs and desires
and to satisfy our curiosity. And what we observe in nature is a complex of phe-
nomena, including ourselves, where we are related to all of nature, as is implied by
our definition of nature as the material universe with which we can, or can conceiv-
ably, interact. This possibility of interaction is what relates us to all of nature and,
due to the mutuality of interaction and of the relation it brings about, relates all of
nature to us. It then follows that all aspects and phenomena of nature are actually
interrelated, whether they appear to be so or not; whether they are interrelated in-
dependently of us or not, they are certainly interrelated through our mediation.
Thus all of nature, including Homo sapiens, is interrelated and integrated.
Science is our attempt to understand the reproducible and predictable aspects of
nature. But how are we to grasp this wholeness, this integrity? When we approach
nature in its completeness, it appears so awesomely complicated, due to the inter-
relation of all its aspects and phenomena, that it might seem utterly beyond hope to
understand anything about it at all. True, some obvious simplicity stands out, such
as day-night periodicity, the annual cycle of the seasons, and the fact that fire con-
sumes. And subtler simplicity can be discerned, such as the term of pregnancy, the
relation between clouds and rain, and that between the tide and the phase of the
moon. Yet, on the whole, complexity seems to be the norm, and even simplicity,
when considered in more detail, reveals wealths of complexity. But, again due to
nature's unity, any attempt to analyze nature into simpler component parts cannot
but leave something out of the picture.
Holism is the world view that nature can be understood only in its wholeness or not
at all. And that includes human beings as part of nature. As long as nature is not
yet understood, there is no reason a priori to consider any aspect or phenomenon of
it as being intrinsically more or less important than any other. Thus it is not mean-
ingful to pick out some part of nature as being more 'worthy' of investigation than
other parts. Neither is it meaningful, according to the holist position, to investigate
an aspect or phenomenon of nature as if it were isolated from the rest of nature.
The result of such an effort would not reflect the normal behavior of that aspect or
phenomenon, since in reality it is not isolated at all, but is interrelated with all of
nature, including ourselves.
On the other hand lies the world view called reductionism, which is that nature is
indeed understandable as the sum of its parts. According to the reductionist posi-
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REDUCTION IN SYMMETRY 203

tion nature should be studied by analysis, should be 'chopped up' (mostly concep-
tually, of course) into simpler component parts that can be individually understood.
(By 'parts' we do not necessarily mean actual physical parts; the term might be used
metaphorically. An example of that is presented in section 5.) A successful analysis
should then be followed by synthesis, whereby the understanding of the parts is
used to help attain understanding of larger parts compounded of understood parts.
If necessary, that should then be followed by further synthesis, further compound-
ing of the compound parts to obtain even larger parts and attaining understanding
of the latter with the help of the understanding achieved so far. And so on to the
understanding of ever larger parts, until we reach an understanding of all of nature.
Now, each of the poles of holism and reductionism has a valid point to make.
Nature is certainly interrelated and integrated, at least in principle, and we should.
not lose sight of this fact. But if we hold fast to extreme holism, everything will
seem so fearsomely complicated that it is doubtful if we will be able to do much sci-
ence. Separating nature into parts seems to be the only way to search for simplicity
within nature's complexity. But a position of extreme reductionism might also not
allow much science progress, since nature might not be as amenable to reduction as
this position claims. So science is forced to the pragmatic mode of operating as if
reductionism were valid and adhering to that for as long as it works. But it should
be kept in mind that the inherent integrity of nature can raise its head at any time
and indeed does so. The most well known aspect of nature's irreducibility is
nature's quantum character (Davies and Brown, 1986; Davies 1980).

2. SYMMETRY
Symmetry at its most fundamental is the possibility of making a change that leaves
some aspect of the situation unchanged, or, most succinctly, symmetry is immunity
to a possible change (Rosen, 199Oa, 199Ob). This is the conceptual formulation of
symmetry. It might also be called the qualitative formulation of symmetry, in con-
trast to the group-theoretical formulation, which might be called the quantitative
formulation of symmetry. The latter is expressed in terms of transformations (or
operations), transformation groups, equivalence relations, equivalence classes,
symmetry transformations (or symmetry operations), and symmetry groups, and
can be developed from the conceptual formulatIOn (Rosen, 1983). For the
description and treatment of many derivative applications of symmetry in science
the group-theoretical formulation is the appropriate one. But for the account of
the fundamental manifestations of symmetry in science it is the conceptual
formulation that is the more suitable (Rosen, 199Ob).
As an example of symmetry, consider a uniform metal plate in the shape of an
equilateral triangle. There are many changes that might be imposed on this system,
and among the possible changes there are those that indeed leave some aspect of
. the system unchanged. For example, rotating the triangle by 1200 or 2400 about its
center within its plane is a change, but does not affect the appearance or macro-
scopic physical properties of the system. Thus the piece of metal of this example
possesses symmetry under these rotations with respect to appearance and macro-
scopic physical properties. If the metal were not uniform or the triangle were not
equilateral or had a corner chopped off, the system would not possess this symme-
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204 J. ROSEN

try. It must be emphasized that there are aspects of the system that are not left un-
changed by these rotations. For example, molecular positions are certainly altered.
Reduction in science, the separation of nature into parts that can be individually
understood, implies symmetry. The point is that if a reduction separates out a part
that can be understood individually, then that part exhibits order and law regardless
of what is going on in the rest of nature. In other words, that part possesses aspects
that are immune to possible changes in the rest of nature. And that is symmetry, by
the conceptual formulation of symmetry presented above. It is then possible to
make a change (in the rest of nature) that leaves some aspect ofthe situation (some
aspect of that part of nature) unchanged.
Reduction of nature can be carried out in many different ways. As the old saying
goes, there's more than one way to slice a salami. We will now consider three ways
reduction is commonly applied in science, three ways that nature is commonly
'sliced up,' and will examine the symmetry implied by each.

3. OBSERVER AND OBSERVED

The most common way of reducing nature is to separate it into two parts: the
observer - us - and the observed - the rest of nature. This reduction is so obvious that
it is often overlooked. It is so obvious because in doing science we must observe
nature to find out what is going on and what needs to be understood. Now what is
happening is this: Observation is interaction, so we and the rest of nature are in
interaction, are interrelated, as was pointed out above. Thus anything we observe
inherently involves ourselves too. The full phenomenon is thus at least as
complicated as Homo sapiens. Every observation must include the reception of
information by our senses, its transmission to our brain, its processing there, its
becoming part of our awareness, its comprehension by our consciousness, etc. We
appear to ourselves to be so frightfully complicated, that we should then renounce
all hope of understanding anything at all.
So we reduce nature into us, on the one hand, and the rest of nature, on the other.
The rest of nature, as complicated as it might be, is much less complicated than all
of nature, since we have been taken out of the picture. We then concentrate on
attempting to understand the rest of nature. (We also might, and indeed do, try to
understand ourselves. But that is another story.) However, as we saw above, since
nature with us is not the same as nature without us, what right have we to think
that any understanding we achieve by our observations is at all relevant to what is
going on in nature when we are not observing? The answer is that in principle we
simply have no such right a priori. What we are doing is assuming, or adopting the
working hypothesis, that the effect of our observations on what we observe is
sufficiently weak or can be made so, that what we actually observe well reflects what
would occur without our observation, and that the understanding we reach under
this assumption is well relevant to the actual situation. This assumption might be a
good one or it might not, its suitability possibly depending on the aspect of nature
that is being investigated. It is ultimately assessed by its success or failure in
allowing us to understand nature.
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REDUCTION IN SYMMETRY 205

As is well known, the observer-observed analysis of nature is very successful in

many realms of science. One example is Newton's explanation of Kepler's laws of
planetary motion. This excellent understanding of an aspect of nature was achieved
under the assumption that observation of the planets does not affect their motion
substantially. In general, the reduction of nature into observer and observed seems
to work very well from astronomical phenomena down through everyday-size phe-
nomena and on down in size to microscopic phenomena. However, at the micro-
scopic level, such as in the biological investigation of individual cells, extraordinary
effort must be invested to achieve a good separation. The ever-present danger of
the observation's distorting the observed phenomena, so that the observed
behavior does not well reflect the behavior that would occur without Observation,
must be constantly circumvented.
At the molecular, atomic, and nuclear levels and at the subnuclear level, that of the
so-called elementary particles and their structure, the observer- observed analysis
of nature does not work. Here it is not merely a matter of lack of ingenuity or in-
sufficient technical proficiency in designing devices that minimize the effect of the
observation on the observed phenomena. Here it seems that the observer-observed
interrelation cannot be disentangled in principle, that nature holistically absolutely
forbids our separating ourselves from the rest of itself. Quantum theory is the
branch of science that successfully deals with such matters (Davies and Brown,
1986; Davies, 1980). From it we learn that nature's observer-observed disentangle-
ment veto is actually valid for all phenomena of all sizes. Nevertheless, the amount
of residual observer-observed involvement, after all efforts have been made to sep-
arate, can be more or less characterized by something like atom size. Thus an atom-
size discrepancy in the observation of a planet, a house or even a cell is negligible,
while such a discrepancy in the observation of an atom or an elementary particle is
of cardinal significance.
One aspect of the symmetry implied by the observer-observed reduction, when the
latter is valid, is that the behavior of the rest of nature (i.e., nature without us) is
unaffected by and independent of our observing and measuring. That behavior is
thus an aspect of nature that is immune to certain possible changes, the changes
being changes in our observational activities. It is just this symmetry that allows the
compilation of Objective, observer-independent data about nature that is a sine qua
non for the very existence of science. It IS intimately related to reproducibility, which
was also shown to be a symmetry (Rosen, 1989a, 1989b).
Inversely, another aspect of this symmetry is that our observational activity is un-
affected by and independent of the behavior of the rest of nature, at least in certain
respects and to a certain degree. For example, if we had an ideal thermometer, we
would make exactly the same temperature measurement regardless of the system
whose temperature is being taken. (In practice, of course, things are not so simple.)
The symmetry here is that our observational activity is an aspect of nature that is
(at least ideally) immune to changes in what is being observed. This symmetry, as
limited as it might be in practice, allows the setting up of measurement standards
and thus allows the meaningful comparison of observational results for different
systems. For instance, we can meaningfully compare the temperature of the sea
with that of the atmosphere.
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206 1. ROSEN

4. QUASI.ISOLATED SYSTEM AND SURROUNDINGS

Whenever we reduce nature to observer and the rest of nature, we achieve simplifi-
cation of what is being observed, because, instead of observing all of nature, we are
then observing only what is left of nature after we ourselves are removed from the
picture. Yet even the rest of nature is frightfully complicated. That might be over-
come by the further slicing of nature, by separating out from the rest of nature just
that aspect or phenomenon that especially interests us. For example, in order to
study liver cells we might remove a cell from a liver and examine it, still living,
under a microscope.
But what right have we have to think that by separating out a part of nature and
confining our investigation to it, while completely ignoring the rest, we will gain
meaningful understanding? We have in principle no right at all a priori. Ignoring
everything going on outside the object of our investigation will be meaningful if the
object of our investigation is not affected by what is going on around it, so that it
really does not matter what is going on around it. That will be the case if there is no
interaction between it and the rest of nature, i.e., if the object of our investigation is
an isolated system.
Now, an isolated system is an idealization. By its very definition we cannot interact
with an isolated system, so no such animal can exist in nature, where nature is, we
recall, the material universe with which we can, or can conceivably, interact. The
state of our present understanding of nature, as incomplete as it might be, is still
sufficient to preclude the existence of systems that are somehow observable yet are
isolated from the rest of nature. The known anti-isolatory factors include the vari-
ous forces of nature, which can either be effectively screened out or can be attenu-
ated by spatial separation (Davies, 1986). Additional anti-isolatory factors involve
quantum effects and inertia, which can be neither screened out nor attenuated.
Thus even the most nearly perfectly isolated natural system is simply not isolated,
and I therefore prefer the term quasi-isolated system for a system that is as nearly
isolated as possible.
The separation of nature into quasi-isolated system and surroundings will be a
reduction, if, in spite of the system's lack of perfect isolation, there are aspects of
the system that are nevertheless unaffected by its surroundings. And the fact of the
matter is that the investigation of quasi-iSOlated systems does yield considerable
understanding, thus proving quasi-isolation to be a reduction of nature. Indeed,
science successfully operates and progresses by the double reduction of nature into
observer and observed and the observed into quasi-isolated system and its sur-
roundings.
One side of the symmetry implied by this reduction is that those aspects of quasi-
isolated systems that are not affected by their surroundings are aspects of nature
that are immune to possible changes, the changes being changes in the state of the
surroundings. This symmetry is intimately related to predictability, which was also
shown to be a symmetry (Rosen, 1989a, 1989b). Inversely, due to the mutuality of
interaction or of lack of interaction, there are also aspects of the surroundings of
quasi-isolated systems that are immune to certain changes in the state of the quasi-
isolated systems. That is another side of the symmetry implied by this reduction.
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REDUCTION IN SYMMETRY 207

5. INITIAL STATE AND lAW OF EVOLUTION

The previous two ways of reducing nature - separation into observer and the rest
of nature and separation into quasi-isolated system and its surroundings - are lit-
eral applications of the reductionist position. The present way of reducing is a
metaphorical application, or a broadening of the idea of a part of nature. Rather
than a separation that can usually be envisioned spatially - observer here, observed
there, or quasi-isolated system here, its surroundings around it - the present
reduction is a conceptual separation, the separation of natural processes into initial
state and law of evolution.
Things happen. Events occur. Changes take place. Nature evolves. That is the
relentless march of time. The process of nature's evolution (where 'evolution' is
intended in the general sense of temporal development) is of special interest to sci-
entists, since predictability, one of the cornerstones of science, has to do with
telling what will be in the future, what will evolve in time. Nature's evolution is cer-
tainlya complicated process. Yet order and law can be found in it, when it is prop-
erly sliced. First the observer should separate him- or herself from the rest of
nature. Then he or she should narrow the scope of investigation from all of the rest
of nature to quasi-isolated systems and investigate the natural evolution of such
systems only. Actually, it is only for quasi-isolated systems that order and law are
found. (This statement is really more flexible than it might sound. The demand of
quasi-isolation can be relaxed, along with a softening of what is considered order
and law.)
Finally, and this is the present point, the natural evolution of quasi-isolated systems
should be analyzed in the following manner. The evolution process of a system
should be considered as a (continuous or discrete) sequence of states in time,
where a state is the condition of the system at any time. For example, the solar
system evolves, as the planets revolve around the Sun and the moons revolve
around their respective planets. Now imagine that some duration of this evolution
is recorded on a reel of photographic film or on a videocassette. Such a recording is
actually a sequence of still pictures. Each still picture can be considered to
represent a state of the solar system, the positions of the planets and moons at any
time. The full recording, the reel or cassette, represents a segment of the evolution
process.
Then the state of the system at every time should be considered as an initial state, a
precursor state, from which the following remainder of the sequence develops,
from which the subsequent process evolves. For the solar system, for instance, the
positions of the planets and moons at every single time, such as when it is twelve
o'clock noon in Tel-Aviv on 20 October 1989, say, or any other time, should be
considered as an initial state from whichthesubsequent evolution of the solar sys-
tem follows.
When that is done, when natural evolution processes of quasi-isolated systems are
viewed as sequences of states, where every state is considered as an initial state ini-
tiating the system's subsequent evolution, then it turns out to be possible to find
order and law. What turns out is that, with a good choice of what is to be taken as a
state for any quasi-isolated system, one can discover a law that, given any initial
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208 1. ROSEN

state, gives the state that evolves from it at any subsequent time. Such a law, since it
is specifically concerned with evolution, is referred to as a law ofevolution.

For an example let us return to the solar system. It turns out that the specification
of the positions of all the planets, moons, etc. at any single time is insufficient for
the prediction of their positions at later times. Thus the specification of states
solely in terms of position is not a good one for the purpose of finding lawful
behavior. However, the description of states by both the positions and the
velocities of the planets, moons, etc. at any single time does allow the prediction of
the state evolving from any initial state at any subsequent time. The law of
evolution in this case consists of Newton's three universal laws of motion and law
of universal gravitation.
So the reduction needed to enable the discovery of order and law in the natural
evolution of quasi-isolated systems is the conceptual splitting of the evolution pro-
cess into initIal state and law of evolution. The usefulness of such a separation
depends on the independence of the two 'parts', on whether for a given system the
same law of evolution is applicable equally to any initial state and whether initial
states can be set up with no regard for what will subsequently evolve from them.
Stated in other words, the analysis of the evolution process into initial state and law
of evolution will be a reduction, if, on the one hand, nature indeed allows us (at
least in principle) complete freedom in setting up the initial state, i.e., if nature is
not at all concerned with initial states, while, on the other hand, what evolves from
an initial state is entirely beyond our control.
This reduction of evolution processes into initial states and laws of evolution has
proved to be admirably successful for everyday-size quasi-isolated systems and has
served science faithfully for ages. Its extension to the very small seems quite satis-
factory, although when quantum theory becomes relevant, the character of an ini-
tial state becomes quite different from what we are familiar with in larger systems.
Its extension to the large, where we cannot actually set up initial states, is also suc-
cessful. But we run into trouble when we consider the universe as a whole. One rea-
son for this is that the concept of law is irrelevant to the universe as a whole
(Rosen, 1981, 1991). Another reason is that it is not at all clear whether the con-
cept of initial state is meaningful for the universe as a whole; I do not think it is
(Rosen, 1987).
The symmetry that is implied by reduction into initial state and law of evolution
follows immediately from the independence of the two 'parts', as described in the
paragraph before last. On the one hand, laws of evolution are an aspect of nature
that is immune to possible changes, the changes being changes in initial states. On
the other hand, initial states are an aspect of nature that is immune to possible
changes, where the changes are hypothetical changes in laws of evolution, in the
sense that initial states can be set up with no regard for what will subsequently
evolve from them. This symmetry, too, is intimately related to predictability (Rosen,
1989a,1989b).
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REDUCTION IN SYMMETRY 209

ACKNOWLEDGMENT
I am to the three referees - John Hosack, Peter Klein, and Vojtech
Kopsk)' - for raising interesting points and making helpful suggestions concerning
my ideas and their presentation.

REFERENCES

Davies, P. C. W. (1980) Other Worlds: A Portrait of Nature in Relxllion: Space, Superspace, and the
Quantum Universe, New York: Simon and Schuster, chaps. 1-4.
Davies, P. C. W. (1986) Vie Forces ofNature, 2nd ed. Cambridge: Cambridge University Press, vii + 175
pp.
Davies, P. C. W., and Brown, J. R., eds. (1986) The Ghost in the Atom, Cambridge: Cambridge Univer-
sity Press, ix + 157 pp.
Rosen, J. (1981) Extended Mach principle, American Joumal ofPhysics, 49, 258-264.
Rosen, J. (1983) A Symmetry Primer for Scientists, New York: Wiley, xiv + 192 pp.
Rosen, J. (1987) When did the universe begin? American Joumal ofPhysics, 55, 498-499.
Rosen, J. (1989a) Symmetry at the foundations of science, Computers and Mathl:ltlatics with Applica-
tions, special issue Symmetry 2, Unifying Hwnan Understanding, 17, 13-15; and in: I. Hargittai, ed.,
(1989) Symmetry 2, Unifying Human Understanding, Oxford: Pergamon Press, pp. 13-15.
Rosen, J. (1989b) Symmetry in the structure of science, In: DaIVas, G. and Nagy, D. eds., Abstracts ofthe
1st Interdisciplinary Symposiwn on the Symmetry ofStrUcture, BUdapest, pp. 492-494.
Rosen, J. (199Oa) Symmetry, Analogy, Science, Symmetry, 1, 19-21.
Rosen, J. (199Ob) Fundamental manifestations of symmetry in physics, Foundations ofPhysics, 20, 283-
307.
Rosen,J. (1991) The Capricious Cosmos: Universe Beyond Law, New York: Macmillan, xiii + 175 pp.
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Symmetry: Culture and Science
VoL 3, No. 2, 1992, 211-212

SFS: SYMMETRIC FORUM OF THE SOCIEIT

(BULLETIN BOARD)

All correspondence should be sent to the editors. For the list of publications of
members (and non-members) refer to the 'Symmetric Reviews' in Symmetro-graphy.

SYMMETRIC NEWS
The Second Interdisciplinary Symmetry Symposium and Exhibition of the Society:
Symmetry of Patterns was held at the Synergetics Institute, in Hiroshima, Japan,
August 17-23,1992.
Participants from 14 countries of four continents gave lectures and/or exhibited
their works during the six days' program, or organized workshops, panel discussion
or brain storming at the evenings.
One of the most exciting events was the minisymposium on quasicrystals. A special
origami festival was devoted to the Japanese arts and crafts, with workshops at the
exhibition.
Several board meetings were included in the program, however, many board mem-
bers couldn't take part at the Symposium, so formal decisions were not made. The
President and the Executive Secretary gave account on the three years' activity as
well as the financial affairs of the Society. They reported the establishment of the
International Symmetry Foundation, which should facilitate the better financial
conditions (tax advantages) of the Society; as well as the reforming of the Society's
Budapest Office into Symmetrion - The Institute for Advanced Symmetry Studies,
emphasizing the shift from administrative functions to professional activity: organi-
zation of lectures, courses, exhibitions etc. In the lack of the majority of board
members, the mandate of ISIS-Symmetry's officials was prolonged for the next
three years. The board should be revised. The Symposium participants remembered
two board members: Andrew Duff-Cooper and Jarek Woloszyn, who passed away last
year. The invitation of some new members to the Board was decided.
ISIS-Symmetry plans its 3rd International Interdisciplinary Symmetry Symposium
and Exhibition in 1995. There are invitations to the following places to organize
forthcoming events: Germany (VIm and North German spots), Hungary (Szeged),
India (Bombay), the Netherlands (Delft), Portugal (Lisbon), USA (Seattle, Wash-
ington and Tempe, Ariwna). The logistical and financial conditions will motivate
the final decisions.
Specialized regional meetings are planned between the Society's three years' sym-
posia,in 1993 and 1994.
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212 SFS

According to a decision, made in Hiroshima, an E-mail journal (Bulletin Board) is

under organization by George Lugosi (Howard Florey Institute, University
of Melbourne, Parkville, Vic. 3052 Australia, E-mail:
george@hfivar.hfiunimelb.edu.au or x9902975@ucsvc.ucs.unimelb.edu.au) which
will be available for everybody who joins the 'Club' and has an access to use E-mail.
The E-mail journal will be updated continuously and appear on your screen when-
ever you contact the E-mail address which will be identified soon.
Decision was also made on a special issue on Origami, during the Hiroshima
Symposium.
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Symmetry: Culture and Science
VoL 3, No. 2, 1992, 213-221

RECREATIONAL SYMMETRY

This is a non-regular section for symmetry-related problems and puzzles (symmetr-

enigmas), as well as games, computer programs, descriptions of scientific toys, and
other topics which are connected with both recreation and education.

FLEXING POLYHEDRA

Nets by Caspar Schwabe

On the following four sheets you will find the nets of the four flexing polyhedra
illustrated in C. Schwabe's abstract on pp. 168-169 of this issue.
Before cutting out the sheets, please enlarge them by Xerox to 175 per cent on A3
paper size, if you wish colored paper of about 170 grams per m2 •
The nets are the courtesy of Caspar Schwabe.
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214 C SCHWABE

Bricard's
OCTAHEDRON

Assembly instruction:
_._._._._. Mountain folds
(weak incision)

--------Valley folds
(score on the back,
mark vertices by
pricking with pin)

..... :. ·.·Glue
.......... (the tap is joined
to the edge with
the same number)
1992 by Caspar Schwabe, Zurich
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FLEXING POLYHEDRA 215
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216 C. SCHWABE

Steffen's
. : ... TETRADECAHEDRON

--------._---_.
--
--_.----

"<::..
",".,.
,

AssembLy instruction:

-·-·-·-·-·Mountain foLds
(weak incision)

----------VaLLey foLds
(score on the back,
mark vertices by
pricking with pin)

.. GLue
.:.:-:-:- ...:.::: (the taps are joined
to the edges with
the same number)

1992 by Caspar Schwabe, Zurich

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FLEXING POLYHEDRA 217
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218 C. SCHWABE

Goldberg's
SIAMESE TWINS

...< ......
.....
.................

,. .. .. ::
.,;

...,
...................
"
.....
............
.....

;:;1

Assembly instruction:

-Mountain folds (weak incision)

---------Valley folds (score on the back,

mark vertices by pricking with pin)

Glue (the taps are joined to the

1992 by Caspar Schwabe, Zurich edges with the same number)
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FLEXING POLYHEDRA 219
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220 C SCHWABE

Schwabe's
QUADRI CORN
'.-:':- II-:· .. -:· .... -:··.·...... . . I
.' . . . . .

- ... ,
.... ",
:..
.....
'".
.. ....... ,
"
.... . ....
'*1. '.\ . .
. :::,
. . . .' ..
.,,
..
... '",
"

. ,",
@ hoi.
;r•

.......

.,
>'

.' .
. '.:.
., ,.,

.. . . ",
. ... " , ..
.... .., ,'',
. ",
,,
'. ,"

' .. , ,..., .
.4"'/ I I " .., ;:",

."

. :/
of

,'.'.",""
, ...
..
. .,
','
," /: :.'..
I •• ' •

,. .. I • •••

, ,. . ..
'
",

.

\ .
.
"

, ,......
'I." .
"
,.
, .
, .
,.
. .
,
.........'
__._._._._._._._.-.- -_._._._._._._-

II
Assembly
instruction:
I

-·-Mountain folds (weak incision)

\
------Valley folds (score on the back,
mark vertices by pricking with pin)

...... '.' Glue (the taps are joined to the

1992 by Caspar Schwabe, Zurich ....... : edges with the same number)
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Peter Klein (left) plays on Caspar Schwabe', 'accordion'; it is a flexible polyhedron (see on the opposite
page) that actually provides music by pressing out the air through a whistle. Vojt&:h KopskY (right)
enjoys the performance. Luckily his umbrella was not required
Photo: Scbw:>b<

Shu taro Mukai with Caspar Schwabe's quadncom.

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222 INSTRUCTIONS FOR CONTRIBUTORS

Contributions to SYMMETRY: CULTURE AND SCIENCE are welcomed from the broadest international
circles and from representatives of all scholarly and artistic fields where symmet1)' considerations play an
important role. The papers should have an interdisciplina1)' character, dealing with symmet1)' in a
concrete (not only metaphorical!) sense, as discussed in 'Aims and Scope' oop. 224. The quarterly has a
special interest in how distant fields of art, 5cience, and technology may influence each other in the
framework of symmet1)' (symmetrology). The papers should be addressed to a broad non-specialist public
in a fonn which would encourage the dialogue between disciplines.
Manuscripts may be submitted directly to the editors, or through members of the Board of ISIS-
Symme(1)'.

Contributors should note the following:

• All papers and notes are pUblished in English and they should be submitted in that language. The
quarterly reviews and annotates, however, non-English publications as well.
• In the case of complicated scientific concepts or theories, the intuitive approach is recommended,
thereby minimizing the technical details. New associations and speculative remarks can be included, but
their tentative nature should be emphasized. The use of well-known quotations and illustrations should be
limited, while rarely mentioned sources, new connections, and hidden dimensions are welcomed.
• The papers should be submitted either by electronic mail to both editors, or on computer diskettes
(5 Y." or 3.5") to Gyorgy Darvas as tw files (IBM PC compatible or Apple Macintosh); that is,
conventional characters should be used (ASCII) without italics or other formatting commands. Of course
typewritten te.us will not be rejected, but the preparation of these items takes longer. For any method of
submission (e-mail, diskette, or typescript), four hard-copies of the tw are also required, where all the
necessa1)' editing is marked in red (inserting non-ASCII characters, underlining words to be italicized,
etc.). Three hard-copies, including the master copy and the original illustrations, should be forwarded to
Gyorgy Darvas, while the fourth copy should be sent to Dtnes Nagy. No manuscripts, diskettes, or figures
will be returned, unless by special arrangement.
• The papers are accepted for publication on the understanding that the copyright is assigned to ISIS-
Symmetry. The Society, however, aiming to encourage the cooperation, will allow all reasonable requests
to photocopy articles or to reuse published materials. Each author will receive a complimentary copy of
the issue where hislher article appeared.
• Papers should begin with the title, the proposed running head (abbreviated form of the title of less than
35 characters), the proposed section of the quarterly where the article should appear (see the list in the
note 'Aims and Scope'), the name of the author(s), the mailing address (office or home), the electronic
mail address (if any), and an abstract of betwcen 10 and 15 lines. A recent black-and-white photo, the
biographic data, and the list of symmetry-related publications of (each) author should be enclosed; see
the sample at the end.
• Only black-and-white, camera-ready illustrations (photos or drawings) can be used. The required
(approximate) location of the ligures and tables should be indicated in the main tw by typing their
numbers and captions (Figure I: [text], Figure 2: [text], Table 1: [tw], etc.), as new paragraphs. The
figures, which will be slightly reduced in printing, should be enclosed on separate sheets. The tables may
be given inside the text or enclosed separately.
• It is the author's responsibility to obtain written pennission to reprodUce copyright materials.
• Either the British or the American spelling may be used, but the same convention should be followed
throughout the paper. The Chicago Manual ofStyle is recommended in case of any stylistic problem.
• Subtitles (numbered as 1, 2, 3, etc.) and subsidiary subtilles (1.1, 1.1.1, 1.1.2, 1.2, etc.) can be used,
without over-organizing the tw. Footnotes should be avoided; parenthetic inserts within the text are
preferred.
• The use of references is recommended. The citations in the text should give the name, year, and, if
necessary, page, chapter, or other number(s) in one of the following fonns: ... Weyl (1952, pp. 10-12) has
shown...; or ... as shown by some authors (Coxeter et aI., 1986, p. 9; Shubnikov and Koptsik 1974, chap. 2;
Smith, 1981a, chaps. 3-4; Smith, 1981b, sec. 2.12; Smith, forthcoming). The full bibliographic description
of the references should be collected at the end of the paper in alphabetical order by authors' names; see
the sample. This section should be entitled Refcrt:nces.
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223

Sample of heading (Apologies for the strange names and addresses)

SYMMETRY IN AFRICAN ORNAMENTAL ART
BLACK-AND-WHITE PATTERNS IN CENTRAL AFRICA
Running bead: Symmetry in African Art
Section: Symmetry: Culture & Science
Susanne Z Dissymmetrist and Warren M. Symmetrist
8 Phyllotaxis Street Department of Dissymmetry, University of Symmetry
Sunflower City, CA 11235, U.SA 69 Harmony Street, San Symmetrino, CA 69869, U.SA
E-mail: symmetrist@symmetry.edu
Abstract
The ornamental art of Africa is famous_.
Sample of references
In the following, note punctuation, capitalization, the use of square brackets (and the remarks in
parentheses). There is always a period at the very end of a bibliographic entry (but never at other places,
except in abbreviations). Brackets are used to enclose supplementary data. Those parts which should be
italicized - titles of books, names of journals, etc. - should be underlined in red on the hard<opies. In
the case of non-English publications both the original and the translated titles should be given (cr.,
Dissymmetrist, 1990).
Asymmetrist, A. Z (or corporate author) (1981) Book Tille: Subtille, Series Title, No. 27, 2nd ed., City
+
(only the first one): Publisher, vii 1>191'1'.; (further data can be added, e.!.) 3rd ed., 2 vols., ibid.,
1985, viii + 444 + 4S4 PI'. with 2 computer dISkettes; Reprint, ibid., 1988; '(Jerman trans., German
Title, 2 vols., City: PUblISher, 1990,986 1'1',; Hungarian trans.
Asymmetrist, A. Z, Z, and Symmetrist, W. M. (1980-81) Article or e-mail article title:
Subtitle, Parts 1-2, lournal NtVM Without AbbrcviaJion. IE-Journal or Discussion Group address:
journal@node (if applicable»), B22 (volume number), No.6 (issue number if each one restarts
pagination), 110-119 (page numbers); B23, No.1, 117·132 and 148 (for e-journals any appropriate
data).
Dissymmetrist, S. Z (1989a) Chapter, article, symposium paper, or abstract title, [Abstract (if
!n: Editorologist, AB. and Editorologist, C.D.• eds., Book, S/Xcial/ssue, Proceedings,
or Abstract VOIwM Issue (or) SymposIum organized by tlie Dissymmetry Society,
University of Symmetry, San Symmetrino, calif., December 11-22, 1911 (those data which are not
available from the title, if applicable»), Vol. 2, City: Publisher, 19-20 (for special issues the data of
the journal).
Dissymmetrist, S. Z (1989b) Dissertation Tille, [Ph.D. Dissertation], City: Institution, 2481'1'. (Exhibition
Catalogs, Manuscripts, Master's Theses, Mimeographs, Patents, Preprints, Working PaP':rs, etc. in
a similar way; Audiocassettes, Compact Disks, Computer Diskettes, Computer
Software, Films, Microfiches, Microfilms, Slides, Sound Disks, Videocasetles. etc. with necessary
modifications, adding the appropriate technical data).
Dissymmetrist, S. Z, ed. (1990) DissiJlunctriya v nilllU (title in original. or transliterated, form).
[Dissymmetry in science, in Russian with German summary], Trans. from English by
Antisymmetnst, B. W., etc.
PhylIot.1Jtist, F. B. (1899/1972) Tille of the 1972 Edition, [Reprint. or Translation, of the 1899 ed.], etc.
[Symmetrist, W. M.] (1989) Review of Tille of the Reviewt:d Work, by S. Z Dissymmetrist, etc. (if the
review has an additional title, then it should appear first; if the authorship of a work is not revealed
in the publication, but known from other sources. the name should be enclosed in brackets).
In the case of lists of publications. or bibliographies ,ubmitted to Symmaro-graphy, the ume convention
should be used. The items may be annotated, beginning in a new paragraph. The annotation, a maximum
of live lines, should emphasize those symmetry-related aspects and conclusions of the work which are not
obvious (rom the title. For books, the list of (important) reviews, can also be added.
Sample of biographlc entry
Name: Warren M. Symmetrist, Educator, mathematician, (b. Boston, Mass., U.SA, 1938).
Address: Department of Dissymmetry, University of Symmetry, 69 Harmony Street, San Symmetrino,
Calif. 69869, U.S.A. £-mail: symmetrist@symmetry.edu
Fields of interest: Geometry, mathematical CI)'StalIography (also ornamental arts, anthropology - non-
professional interests in parentheses).
Awards: Symmetry Award, 1987; Dissymmetry Medal, 1989.
Publications and/or Exhibitions: Ust all the symmetry-related publications/exhibitions in chronological
order, folIewing the conventions of the references and annotations. Please mark the most important
publications, not more than five items, by asterisks. This shorter list wilI be published together with the
article, while the full list will be included in the computerized data bank of ISIS-Symmetry.
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224 AIMS AND SCOPE

There are many disciplinary periodicals and symposia in various fields of art, science, and technology, but broad
interdisciplinary forums for the connections between distant fields are rare. Consequently, the interdisci-
plinary papers are dispersed in very different journals and proceedings. This fact makes tbe cooperation of the
authors difficult, and even afCects the ability to locate their papers.
In our 'split culture', there is an obvious need for interdisciplinary journals that have the basic goal of building
bridges ('symmetries') between various fields of the arts and sciences. Because of the variety of topics available,
the con.crete, but general, concept of symmetry was selected as the focus of the journal, since it has roots in
both sCience and art.
SYMMETRY: CULTURE AND SaENCE is the quarterly of the INTERNATIONAL SoaE7Y FOR THE IlflERDISapUNARY
STUDY OF SYMMETRY (abbreviation: ISIS-SJ1!!RId1Y, shorter name: Symmetry Socidy). ISIS-Symmetry was
founded during the symposium Symmetry 0/ (First Inlt:rdisciplinary S'ymrnary Symposium and Exhibi-
lion), BUdapest, AU$ust 13-19, 1989. The focus of ISIS'-Symmetry is not only on the concept of symmetry, but
also its associates (asymmetry, dissymmetry, antisymmetry, etc.) and related concepts (proportion, rhythm,
invariance, etc.) in an interdisciplinary and intercultural context. We may refer to thIS broad approach to the
concept as syrnmetrolofY. The suffIX -logy can be associated not only WIth knowledge of concrete fields (cr.,
biology, geologyl philology, psychology, sociology, etc.) and discourse or treatise (cr., methodology, chronology,
etc.), but also WIth the Greek terminology of proportion (cr., logos, analogio, and their Latin translations rallO,
proportio).
The basic goals of the Society are
(1) to bnng tOJ:ether artists and scientists, educators and students devoted to, or interested in, the research
2l
and understanding of the concept and application of symmetry (asymmetry, dissymmetry);
to provide regUlar information to the general pUblic about events in symmetrology;
f3 to e!1Sure a regular forum (inclUding the organization of symposia, and the publication oC a periodical) for
al t ose Interested In symmetrology.
The Society organizes the triennial 11lIt:rdiscif!linary Symmetry Symposium and Exhibition (starting with the sym-
posium of 1989) and other workshops, meellngs, and exhibitions. The forums of the Society are in/onnal ones,
which do not substitute for the disciplinary conIerences, only supplement them with a broader perspective.
The Quarterly - a non-commercial scholarly journal, as well as the forum of ISIS-Symmetry - publishes origi-
nal papers on symmetry and related questions which J,lresent new results or new connections between known
results. The papers are addressed to a broad non-specialist publiC, without becoming too general, and have an
interdisciplinary character in one of the following senses:
(1) they descnbe concrete interdisciplinary 'bndges' between difCerent fields oC art, science, and technology
uSing the concept of symmetry;
(2) they survey the importance of symmetry in a concrete field with an emphasis on possible 'bridges' to other
fields.
The Ql!arterly also has a special interest in historic and educational questions, as well as in symmetry-related
recreations, games, and computer programs.
The regular sections of the Quarterly:
• Symmetry: Cullul'e & Science (papers classified as humanities, but also connected with scientific questions)
• Symmetry: Science & Cullul'e (papers classified as science, but also connected with the humanities)
• SYJ!'lmetry In Education (articles on the theory and practice of education, reports on interdisciplinary
projects) . . d'" . b . )
• Mosaic of Symmetry (short papers Within a ISClpllne, but appealing to roader Interest
• SFS: Symmetric Forum oClhe Society (calendar oC events, announcements of ISIS-Symmetry, news Crom
members, announcements of projects and publications)
• SYI'!'metrl?-graphy (biblio/disco/sOCtwarelludo/historio-graphies, reviews of books and papers, notes on
annlversanes)
• ReOectlons: tetkrs to Ihe Editors (comments on papers,letters oC general interest)
Additional non-regular sections:
• Symmetrospectlve: A IIlstoric View (survey articles, recollections, reprints or English translations oC basic
• I'Sapers) ( d bl d" . I .h .
A Special Focus on _ roun ta e ISCUSSlons or survey artlc es WIt comments on tOpiCS 0
C
spec18llnterest)
• Symmetry: An [nl.,..vlew wllh._ (discussions with scholars and artists, also introducing the Honorary
Members of ISIS-Symmetry)
• Symmetry: The [nkrCace of Art & Science (works of both artistic and scientific interest)
• Recreational SJlllmetry (problems, puzzles, games, computer programs, descriptions of scientific toys;
for example, Wings, polyhedra, and origami)
Both the lack oC seasonal references and the centrosymmetric spine design emphasize the international charac-
ter of the Society; to accept one or another convention would be a 'symmetry violation'. In the first part oC the
abbreviation ISJS,SYl1lltu:rry all the letters are capitalized, while the centrosymmetric image iSIS! on the spine
is flanked by 'Symmetry' from both directions. This convention emphasizes that ISIS-Symmetry and its quar-
terly have no direct connection with other organizations or journals which also use the word Isis or ISIS. There
are more than twenty identical acronyms and more than ten such periodicals, many oC which have already
ceased to exist, representing various fields, including the history of SCience, mythology, natural philosophy, and
oriental studies. ISIS-Symmetry has, however, some Interest in the symmetry-related questions of many oC these
fields. -

continued from inside front cover
Germany, F.R.: Andreas Dress, Fakultat fur
Mathematik, Universitiit Bielefeld,
0-4800 Bielefeld I, Postfacb 8640, P.R. Gennany
[Geometry, Mathematization of Science]
Thco Hahn, Institut fur Kristallograpbie,
Rbeinisch-WestfaIiscbe Technische Hochschule,
0-5110 Aachen, P.R. Gennany
[Mineralogy, Crystallography]
Hungary: Gyorgy Oarvas (see above, Executive
Secretary)
Italy: Giuseppe Caglioti, Istituto di Ingegneria
Nucleare - CESNEF, Politecnico di Milan, Via
Ponzio 34/3, 1-20133 Milano, Italy [Nuclear
Physics, Visual Psychology]
Poland: Janusz Instytut Arcbitektury i
Urbanistyki, Politecbnika Wrocfawska (Institute of
Architecture and Town Planning, Technical
University of Wrocfaw) , ul. B. Prusa 53-55, PL 50-317
Wroctaw Poland [Arcbitecture, Geometry, and Structural
Engineering]
Portugal: Jose Lima-de-Faria, Centro de
Cristalografia e Mineralogia, Instituto de
lnvestigaca:o Cientffica Tropical, Alameda D. Afonso
Henriques 41, 4.oEsq., P-lOOO Lisboa, Portugal
[Crystallography, Mineralogy, History of Science]
Romania: Solomon Marcus, Facultatea de Matematica,
Universitatea din Bucurelti (Faculty of Mathematics,
University of Bucharest), Str. Academiei 14, R-70I09 Bucurelti
(Bucharest), Romania [Mathematical Analysis,
Mathematical Linguistics and Poetics, Mathematical
Semiotics of Natural and Social Sciences]
Russia: Vladimir A. Koptsik, Fizicheskii fa1rultet,
Moskovskii gosudarstvennyi universitet (Physical
Faculty, Moscow State University) 117234
Moskva, Russia [Crystalpbysics]
Scandinavia: Tore Wester, Skivelaboratoriet,
Baerende Konstruktioner, Kongelige Danske
Kunstakademi - Arkitektskole (Laboratory for Plate
Structures, Department of Structural Science,
Royal Danish Academy - School of Architecture),
Peder Skramsgade I, DK-1054 Kllbenhavn K
(Copenhagen), Denmark [Polyhedral Structures,
Biomechanics]
Switzerland: Caspar Schwabe, Ars Geometrica
RJimistrasse 5, CH-8024 Ziiricb, Switzerland
[Ars Geometrica]
UK.: Mary Harris, Maths in Work Project,
Institute of Education University of London,
20 Bedford Way, London WClH OAL, England
[Geometry, Ethnomathematics, Textile Design]
Anthony Hill, 24 Charlotte Street, London WI,
England [Visual Arts, Mathematics and Art]
YugoslLlvia: Slavik V. Jablan, Matematitki institut
(Mathematical Institute), Knez Mibailova 35, pp. 367,
YU-ll001 Beograd (Belgrade), Yugoslavia
[Geometry, Ornamental Art, Anthropology]
Chairpersons of
Art and Science Exhibitions: Laszlo Beke, Magyar
Nernzeti Galeria (Hungarian National Gallery),
Budapest, Budavari Palota, H-1014 Hungary
Itsuo Sakane, Faculty of Environmental
Infonnation, Keio University at Shonan Fujisawa
Campus, 5322 Endoh, Fujisawa 252, Japan
Cognitive Science: Douglas R. Hofstadter, Center
for Research on Concepts and Cognition, Indiana
University, Bloomington, Indiana 47408, U.S.A.
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Computing and Applied Mathematics: Sergei P.
Kurdyumov, Institut prikladnoi matematiki irn. M.V.
Keldysha RAN (M.Y. Keldysh Institute of
Applied Mathematics, Russian Academy of Sciences),
SU-125047 Moskva, Miusskaya pI. 4, Russia
Education: Peter Klein, FB Erziehungswissenschaft,
Universitiit Hamburg, \bn-Melle-Park 8, D-2000
Hamburg 13, P.R. Gennany
History and Philosophy ofScience: Klaus Mainzer,
Lehrstuhl fUr Philosophie, Universitiit Augsburg,
Universitiitsstr. 10, 0-8900 Augsburg, P.R. Germany
Project Chairpersons:
Architecture and Music: Emanuel Dimas de Melo Pimenta,
Rua TIerno Galvan, Lote 5B - 2.·C, P-I200 Lisboa,
Portugal
Art and Biology: Werner Habn, Waldweg 8, 0-3554
Gladenbach, P.R. Gennany
Evolution ofthe Universe: Jan Mozrzymas, Instytut
Fizyki, Uniwers.'jtet Wroetawski (Institute of
Theoretical Physics, University of Wrocfaw),
ul. Cybulskiego 36, PL 50- 205 Wroctaw, Poland
Higher-Dimensional GraphicS: Koji Miyazaki,
Department of Graphics, College of Liberal Arts,
Kyoto University, Yoshida, Sakyo-ku, Kyoto 606,
Japan
Knowledge Representation by Metastructures: Ted
Goranson, Sirius Incorporated, 1976 Munden Point,
Virginia Beach, VA 23457-1217, U.S.A.
Pattern Mathematics: Bert zaslow, Department of
Chemistry, Arizona State University, Tempe,
AZ 85287-1604, U.S.A.
Polyhedral1hmsformations: Haresh Lalvani, School
of Architecture, Pratt Institute, 200 Wtlloughby
Avenue, Brooklyn, NY 11205, U.S.A.
Proportion and Hannony in Arts: S. K. Heninger, Jr.
Department of English, University of North Carolina
at Chapel Hill, Chapel Hill, NC 17599-3520, U.S.A.
Shape Grammar: George Stiny, Graduate School of
Architecture and Urban Planning, University of
California Los Angeles, Los Angeles, CA 90024-1467,
U.S.A.
Space Structures: Koryo Miura, Spacecraft
Engineering Research Division, Institute of Space
and Astronautical Science, Yoshinodai, Sagamihara,
Kanagawa 229, Japan
llbor Tarnal, Technical University of Budapest,
Department of Civil Engineering Mecbanics,
Budapest, Muegyetem rkp. 3,
H-1111 Hungary
liaison Persons
Andra Akers (International Synergy
Institute)
Stephen G. Davies (Journal Tetrahedron: Asymmetry)
Bruno Gruber (Symposia Symmetries in Science)
Alajos Kalman (International Union of
Crystallography)
Roger F. Malina (Journal Leonardo and
International Society for the Arts, Sciences, and
Technology)
Tohru Ogawa and Ryuji Takaki (Journal Forma and
Society for Science on Form)
Dennis Sharp (Comite International des Critiques
d'Arcbitecture)
Erzsebet Thsa (INTARI' Society)
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